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b. 414-415
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composition: Op. 21, Concerto in F minor, Mvt III
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It is uncertain what kind of staccato marks Chopin used in A at the beginning of these bars. The sign in bar 414 seems to be a small wedge, whereas the one in 415 – rather a dot. When repeating this fragment, Chopin wrote only one mark – a dot in bar 454. According to us, one can safely assume that Chopin had one type of marks in mind. The argument for wedges is the rhythmic similarity of these bars to bars 409-410, in which the use of wedges does not raise major doubts. On the other hand, the difference in articulation between these pairs of bars seems to be justified by a harmonic difference, particularly the change of mode from major to minor. In this situation, it is both the dots and the wedges that can be considered to be corresponding to Chopin's intention. No staccato marks in GE1 (→FE→EE) must be an oversight, whereas GE2 added dots. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , GE revisions , Wedges |
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b. 414-416
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we suggest adding a slur over the passage in the R.H., as in bars 410-412. We lead the slur to the quaver at the beginning of bar 416 due to the reasons identified in the quoted note. category imprint: Editorial revisions |
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b. 414
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composition: Op. 11, Concerto in E minor, Mvt I
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The digit 5, written in FEH, indicates a fingering corresponding to the articulation of the accompanying crotchets intended by Chopin – see the adjacent note. category imprint: Differences between sources |
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b. 414
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composition: Op. 11, Concerto in E minor, Mvt I
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According to us, the articulation markings, i.e. the wedge on the 3rd beat of the bar and the slur, are wrong in the majority of the sources. It is indicated by a comparison with analogous bars 410 and 438, in which it is the bass note on the 2nd beat of the bar that is provided with a staccato mark, whereas the slur encompasses the next two crotchets. The scheme of the accompaniment, in which, after the detached bass note, generally sustained with pedal, the hand moves to the chord position (often broken or repeated) is one of Chopin's favourite procedures. The wedge was crossed out in FEH, in which a fingering was also added; a fingering that confirms the articulation markings we adopted. The entries were probably performed during lessons with Chopin or on the basis thereof. category imprint: Differences between sources issues: Annotations in teaching copies , GE revisions , Annotations in FEH |
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b. 414-415
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composition: Op. 11, Concerto in E minor, Mvt I
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The slur of the majority of the editions is most probably inaccurate; therefore, in the main text, we write it from the 3rd beat of the bar, as in analogous bars 410 and 438. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
