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b. 616
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources issues: EE revisions |
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b. 617-620
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composition: Op. 39, Scherzo in C♯ minor
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Pedalling marked category imprint: Differences between sources |
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b. 617
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composition: Op. 39, Scherzo in C♯ minor
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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 |
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b. 617
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composition: Op. 11, Concerto in E minor, Mvt I
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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 |
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b. 618-619
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composition: Op. 11, Concerto in E minor, Mvt I
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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. category imprint: Editorial revisions issues: Partial corrections |
in b. 617 and 
in b. 620 as seen in 
