Issues : Inaccuracies in GE
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b. 152
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composition: Op. 21, Concerto in F minor, Mvt I
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The "model" long accent in A was reproduced in the editions as a short one. Similarly in bar 154 as well as in bars 302 and 304. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 154
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composition: Op. 21, Concerto in F minor, Mvt I
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The clearly long accent in A was reproduced in GE (→FE) as a short one, whereas EE changed it to a vertical one. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE |
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b. 154
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composition: Op. 21, Concerto in F minor, Mvt I
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In ½A Chopin would try to avoid writing on the cello stave, as a result of which he wrote both category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Inaccuracies in GE , GE revisions , Inaccuracies in A |
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b. 155
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composition: Op. 21, Concerto in F minor, Mvt I
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According to us, the pedalling of A is written inaccurately in this bar, which was probably caused by the transition to a new page and distraction at the time of writing the same bar for the third time – in bar 157 the pedalling is again compliant with bars 151 and 153. The versions of the editions are certainly arbitrary – cf. bars 151-153. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in GE |
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b. 159-161
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composition: Op. 21, Concerto in F minor, Mvt I
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In bars 159-164, differentiation between long and short accents is unclear in A, yet the first three signs are evidently bigger or longer than the next two (see also bar 164). Since in an analogous fragment in the recapitulation (bars 309-314) the differences are entirely clear, in the main text we give here long accents too. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in A |
signs before respective bass notes. It also contributed to an earlier placement of the 
sign, with respect to analogous bar 152, which in 
