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b. 141-142
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composition: Op. 11, Concerto in E minor, Mvt III
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The missing staccato marks for three bass notes must be considered an inaccuracy (of the engraver or of Chopin). In the main text, we add wedges – see the note on bars 137-140. Omission of the mark in bar 142 in GE3 is most probably related to the mistake of GE1 (→GE2) in bar 138. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 141
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composition: Op. 11, Concerto in E minor, Mvt III
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The missing wedge in this place certainly does not indicate a performance change with respect to analogous bar 137; therefore, in the main text we include the wedge added in GE3. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 141
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composition: Op. 16, Rondo in E♭ major
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Just like in a few similar places (bar 117, 269 and 293), we preserve the overlapping slurs in the main text. category imprint: Source & stylistic information |
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b. 141-173
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composition: Op. 31, Scherzo in B♭ minor
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In b. 141, 149, 165 and 173 separate staccato markings for the L.H. chords are featured only in b. 141 (dot) in EE3 and in b. 165 (wedge) in FE (→EE). Only the latter could have come from Chopin; however, such a separate addition seems to be highly unlikely. According to us, it rather points to a mistake of the engraver. In spite of lacking source basis, in order to avoid doubts, in the main text we suggest adding the markings featured in the R.H. to the notation of the L.H. category imprint: Differences between sources; Editorial revisions issues: EE revisions , FE revisions |
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b. 141-173
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composition: Op. 31, Scherzo in B♭ minor
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It is unclear whether the staccato markings with which Chopin provided the R.H. chords in b. 141, 149, 165 and 173 are to be interpreted as wedges or dots. The mark in b. 165 must be a wedge, whereas those in b. 141 and 173 – dots (in b. 149 the mark can be interpreted either as a wedge or a dot); however, it seems unlikely that Chopin would have wanted to differentiate between those marks within the theme. In the main text we suggest wedges due to the predominance of wedges in a similar situation in b. 9, 17, 33 and 41, where we also discuss the analogous places in the entire Scherzo. All discrepancies in the remaining sources are of an accidental nature; in GE they were combined with unifying procedures. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Errors in GE , GE revisions , Wedges , Errors of FC |
