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b. 458-461
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composition: Op. 21, Concerto in F minor, Mvt III
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Both slurs in these bars are written in A inaccurately – their endings do not reach the crotchets in bars 459 and 461, although they point to them quite clearly. A comparison with analogous bars proves that they are almost certainly to be interpreted considering not only their position in relation to the bar lines. GE1 (→FE→EE) interpreted only the second of them in this way; moreover, both start from the 1st beat in bars 458 and 459, which is a mistake. The division of the slur in bar 460 is an arbitrary change introduced in GE2 (just like in the three previous analogous places). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions |
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b. 458-460
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composition: Op. 11, Concerto in E minor, Mvt I
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Fontana's fingering and entries in FEH in bars 458 and 460 are astonishingly similar – the only difference is that one digit written in FEH is missing in EE. However, it does not increase the likelihood of a Chopinesque origin of those indications, since in both bars the fingering naturally stems from the passage structure and hand position determined by the previous figure. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 458
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composition: Op. 11, Concerto in E minor, Mvt I
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The staccato dot featured in GE instead of wedge is probably a mistake of the engraver. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 458
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composition: Op. 11, Concerto in E minor, Mvt III
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Contrary to the previous two bars, the missing mark cannot be considered a patent oversight. In spite of a similar figure in the L.H. part, the bar performs a different function within the four-bar section (bars 456-459) than the remaining three – while the previous two bars are independent units with a clear climax in the middle of the bar, the third one is a part of a two-bar structure and it prepares its climax falling at the beginning of the fourth one. In turn, the accent in the fourth bar emphasises a new note, signalling the change of harmony and transition into the next phrase. Therefore, in the main text we leave the version without accent; we suggest adding it only in an alternative version. The accent was added also in GE3. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 458-459
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we suggest a wedge over both quavers in these bars, in accordance with the markings present in the majority of similar places. category imprint: Editorial revisions issues: Wedges |
