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Issues : EE inaccuracies
b. 109-110
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composition: Op. 21, Concerto in F minor, Mvt I
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The long accents over the syncopated chords in the L.H. were reproduced quite accurately in the editions, except for EE. category imprint: Differences between sources issues: Long accents , EE inaccuracies |
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b. 125-126
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composition: Op. 21, Concerto in F minor, Mvt I
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The accents in A are clearly long and this is how they were reproduced in GE1 (→FE). The engraver of EE, who, as it seems, considered long accents to be diminuendo signs, shortened the first one, most probably being convinced that it is an accent. In GE2 a similar operation was performed on both signs. category imprint: Differences between sources issues: Long accents , GE revisions , EE inaccuracies |
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b. 128-130
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composition: Op. 21, Concerto in F minor, Mvt I
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In the main text we give the slur of A, marking the range of the phrase, with a characteristic ending indicating a necessity of an accurate hold of the last long note (slur-tenuto). Two whole-bar slurs of GE (→FE, repeated inaccurately in EE) deprived the Chopin slurring of all nuances. GE2 generally restored the Chopin slur (without the extended "tenuto" ending). category imprint: Differences between sources issues: Errors in GE , GE revisions , EE inaccuracies , Tenuto slurs |
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b. 130
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composition: Op. 21, Concerto in F minor, Mvt I
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The interpretation of the long accent written in A presents difficulties: the sign is written in such a way that it can refer either to the minim in the R.H. or to f1 in the L.H. (a similar problem appears in the recapitulation, bar 278). According to us, it is more likely that Chopin wanted to draw attention to the chromatic transition of the tenor voice: f1-f category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE inaccuracies , Inaccuracies in A |
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b. 148
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composition: Op. 21, Concerto in F minor, Mvt I
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In A the category imprint: Differences between sources issues: Inaccuracies in GE , EE inaccuracies |