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b. 368

composition: (Op. 4), Sonata in C minor, Mvt IV

Whole-bar slur in A

Slur over quavers in GE (→FE,EE,IE)
..

Similarly as in bar 185, in the main text we keep the A slur. The version of the editions can be considered an acceptable variant.

category imprint: Differences between sources

issues: GE revisions , Triplet slurs

b. 368

composition: (Op. 4), Sonata in C minor, Mvt IV

No sign in sources

[] suggested by the editors
..

The suggested position of the  mark, overlooked in the sources, is justified by an analogy with bar 185 (cf. also bar 266, 268 and 270).

category imprint: Editorial revisions

b. 368

composition: (Op. 4), Sonata in C minor, Mvt IV

in A

Longer  in GE (→FE,EE,IE)
..

First editions would often extend Chopinesque  hairpins (as part of revision). In the main text we reproduce the mark after A, although in this case the version of the editions can be considered equal – the mark certainly concerns the entire passage (cf. bar 370).

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 369-375

composition: Op. 21, Concerto in F minor, Mvt III

Long accent on 3rd beat in A (→GE→FE)

Short accents on 2nd beat in EE
..

In EE the notation of the accents in all of these bars was unified in such a way that the  and the accent (short) constitute one marking under the f3-f4 octave. Since in FE an accent is present only in bar 369 (a long one on the 3rd beat), it required moving this sign and adding 6 further accents – it was certainly analogous bars 29-32 that were taken as the model in this case. Due to the differences in the remaining sources, we discuss bars 370-371, 372 and 373 separately.

category imprint: Differences between sources

issues: EE revisions

b. 369

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

No marks in FE (→GE,EE)

Long accents suggested by the editors
..

The accents present in three similar bars – bars 361, 363 and 371 – make us consider the absence of respective marks in the discussed bar to be Chopin's oversight. At the same time, the presence of long accents in bars 368 and 371 suggests that Chopin could have envisioned long accents for the R.H. in the entire four-bar section (differently than in bars 360-363).

category imprint: Editorial revisions

issues: Long accents