|
b. 292
|
composition: Op. 21, Concerto in F minor, Mvt I
..
The division of the clear slur of A is a typical example of the manner of the engraver of GE1 (→FE→EE). In the main text we omit the additional slur over the quintuplet written in A – General Editorial Principles, p. 16. category imprint: Differences between sources issues: GE revisions |
||||||||
|
b. 292
|
composition: Op. 11, Concerto in E minor, Mvt I category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , Cautionary accidentals |
||||||||
|
b. 292-293
|
composition: Op. 11, Concerto in E minor, Mvt I
..
Fontana's fingering in EE is most probably compliant with the one written in FEH, which, however, does not influence the evaluation of authenticity of any of them. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
||||||||
|
b. 292-294
|
composition: Op. 11, Concerto in E minor, Mvt III
..
Both the length of the majority of the accents and their placement, not over the note, but slightly after it (cf. a typical short accent, e.g. in bar 284), indicate the use of long accents by Chopin. However, in EE and GE3, it is difficult to consider the marks to be long in spite of the fact that their asymmetrical placement was preserved. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE |
||||||||
|
b. 292
|
composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources |
before e2. The mark was added already in 
