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b. 328-331
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we interpret four category imprint: Interpretations within context; Editorial revisions issues: Long accents |
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b. 328-331
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composition: Op. 11, Concerto in E minor, Mvt III
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Like in analogous bars 100-103, staccato dots are an arbitrary addition of the revision of GE3. That addition formed a part of a more comprehensive package of editorial measures encompassing performance indications of that Tutti (e.g. staccato dots were added over the repeated g category imprint: Differences between sources issues: GE revisions |
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b. 328
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composition: Op. 16, Rondo in E♭ major category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions , Errors repeated in EE |
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b. 328
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composition: Op. 2, Variations, complete
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In FE1 (→FE2) there are no ledger lines on the 2nd semiquaver of the 5th and 6th R.H. triplets. The noteheads are actually at the right pitch, yet the notation is misleading, particularly in the case of a2, which can be easily mistaken for a g2. category imprint: Interpretations within context; Differences between sources issues: Errors in FE |
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b. 328
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composition: Op. 2, Variations, complete
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As was the case with the 5th triplet in bar 325, here the 3rd triplet is presented in AsI in its initial form. In both places Chopin eventually opted for a more regular form of the figuration. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
in 
indications. After all, it is highly likely that different lengths of marks in [A] were not so regular or meaningful, since the Chopinesque 
mark, generally also indicates an accent. According to us, Chopin most probably meant both fragments to be performed in the same manner.
1 semiquavers in 
