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b. 342-344
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composition: Op. 21, Concerto in F minor, Mvt III
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We suggest adding staccato signs in a similar context in bars 342 and 344 after the dots in the L.H. in bar 348 written in A. category imprint: Editorial revisions |
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b. 342-348
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composition: Op. 11, Concerto in E minor, Mvt I
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The musical sense requires that the accents featured in bars 342, 344 and 346-348 concern both hands, which was, however, marked with separate accents in FE only in bars 342 and 347. In GE1 (→GE2), this notation was repeated, except for bar 344, in which the accent (long) was placed between the staves, thus, it applies to both hands. In EE and GE3, accents for the L.H. were added in all the places where they were absent. In the main text, we order and unify the inconsistent and most probably inaccurate notation of FE, placing one accent between the parts of both hands in each of the five places (cf. the notation of category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 342
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composition: Op. 2, Variations, complete
category imprint: Differences between sources issues: GE revisions |
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b. 342-343
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composition: Op. 2, Variations, complete
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The missing slur over bar 342 is most probably Chopin's oversight, which he corrected in FE. The suggested alternative solutions are modelled on the continuous slur in analogous bars 355-357, whereby in the first one we keep the whole-bar slur over bar 341, entered into A. category imprint: Differences between sources; Editorial revisions issues: Authentic corrections of FE |
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b. 342
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composition: Op. 2, Variations, complete
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Wedges instead of staccato dots almost certainly resulted from an ad hoc revision of the engraver of GE1, who unified these marks in the entire finale of the Variations. category imprint: Differences between sources issues: GE revisions , Wedges |
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