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b. 617

composition: Op. 39, Scherzo in C♯ minor

Short accent in EE & GC (→GE)

Long accent in FE
..

In the main text we present a short accent based on GC (→GE). In EE the mark is placed below the note, which most probably does not correspond with the manuscript. In FE the accent is long and it is uncertain whether it applies to RH only.

category imprint: Differences between sources

issues: Long accents

b. 617

composition: Op. 11, Concerto in E minor, Mvt I

Accent under g2 in FE (→GE,EE)

Accent over L.H. suggested by the editors
..

The position of the accent raises doubts – a combination of a vertical and long accent is rather uncommon in Chopin's output. Therefore, in the main text we assign the accent to the L.H., assuming that FE misinterpreted the position of the mark (both in FE and [A]​ the distance between the staves was small, hence the marks placed between them would sometimes be ambiguous). See also bar 616 and 618.

category imprint: Editorial revisions

issues: Placement of markings

b. 618-619

composition: Op. 11, Concerto in E minor, Mvt I

a1 tied in FE (→GE,EE)

a1 repeated, our suggestion
..

The lack of autograph impedes the unravelling of the actual meaning of two ties present in FE (→GE,EE). In a similar melodic and rhythmic context, appearing in Chopin's pieces on a number of occasions, a note falling on a strong beat of bar is always played (repeated) – cf. e.g. bars 220-221 and 571-572 or 606-609. Therefore, it seems highly likely that in this case Chopin also wanted to repeat a1 at the beginning of bar 619. Traces of corrections visible in FE in bar 619 point to misunderstandings at the time of implementing proofreading as a possible reason for the unintentionally left tie of that note.
In EE, the notation of bar 619 was arbitrarily completed with rests. 

category imprint: Editorial revisions

issues: Partial corrections

b. 618

composition: Op. 11, Concerto in E minor, Mvt I

​​​​​​​in FE (→GE,EE)

Long accent over L.H. suggested by the editors

, our alternative suggestion
..

Like in bar 618, one can assume that the ​​​​​​​ mark placed under a tied, hence non-played note, was placed inaccurately. We suggest two possible interpretations of the mark:

  • a long accent over the L.H. – the mark would be inaccurately placed in terms of its vertical position (cf. bar 617);
  • diminuendo encompassing the quintuplet in the R.H., assuming an accurate placement in terms of its horizontal position.

category imprint: Differences between sources; Editorial revisions

issues: Long accents , Placement of markings , Scope of dynamic hairpins

b. 619

composition: Op. 39, Scherzo in C♯ minor

Short accent in EE & GC (→GE)

Long accent in FE
..

For the main text we adopt the FE long accent. Chopin many times emphasised a falling minor semitone motif, e.g. in Polonaise E, Op. 22, b. 119. 

category imprint: Differences between sources

issues: Long accents