Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 10 No 3, Etude in E major
In the main text we suggest an average interpretation of the range of the hairpins in AI and A. The minor difference between the autographs is almost certainly insignificant and it results from the graphic nature. It is particularly the slightly earlier beginning of the sign in A that is a result of bypassing the previously written indication con forza. In FE (→GE,EE) the sign – which clearly starts from the beginning of the bar – was radically shortened in order to avoid a clash with this indication – cf. bars 38-40.
Compare the passage in the sources »
category imprint: Interpretations within context; Differences between sources
issues: Inaccuracies in FE
notation: Articulation, Accents, Hairpins