b. 211-212
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composition: Op. 11, Concerto in E minor, Mvt I
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Chopin did not specify the moment of pedal release; he probably meant its gradual release, the so-called diminuendo pedal. Such notation is to be found on a number of occasions in his works, cf. e.g. the Etude in D major, op. 25, no. 8, bar 27 or the Concerto in F minor, op. 21, the 1st mov., bars 299-300. In the main text, we suggest a mark more or less in the place where mixing subsequent chords dominates the echo of the bass B1-B octave. category imprint: Editorial revisions issues: No pedal release mark |
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b. 211-212
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composition: Op. 11, Concerto in E minor, Mvt I
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Six consecutive signs visible in FE (→GE,EE) can denote only long accents in this context. In the group of the first pieces published by Chopin in Paris, long accents, whose meaning the engravers generally did not understand, would be often deformed – cf. e.g. the Etude in A minor, op. 10, no. 2, bar 12 (a similar context to the one of the discussed place of the Concerto is to be found in the Etude in C major, op. 10, no. 1, bars 69-70). category imprint: Interpretations within context; Editorial revisions issues: Long accents |
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b. 211-231
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composition: Op. 11, Concerto in E minor, Mvt I category imprint: |
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b. 211
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composition: Op. 11, Concerto in E minor, Mvt III
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In FE (→EE1), there is no lowering d2 to d2. The accidental was added in GE and EE2 (→EE3). category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Last key signature sign , Errors repeated in EE |
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b. 211-212
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composition: Op. 31, Scherzo in B♭ minor
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The missing tie of c2 is probably an oversight of Chopin in A (→FC→GE1) – those are the last bars on the page, which favours distraction. The tie was added by Chopin in the proofreading of FE (→EE) as well as in GE2 (→GE3), probably on the basis of analogy with b. 79-80. category imprint: Differences between sources; Corrections & alterations issues: GE revisions , Errors of A , Authentic corrections of FE |