Articulation, Accents, Hairpins
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b. 34
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composition: Op. 21, Concerto in F minor, Mvt I
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Same as in bar 32, the interpretation of the long accent on the 3rd quaver as a diminuendo filling the 1st crotchet in the bar is a result of a total misunderstanding of Chopin's notation by the engraver of GE1 (→FE→EE, →GE2). category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 45
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composition: Op. 21, Concerto in F minor, Mvt I
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The staccato dots on three octaves in the bass are most probably either an arbitrary addition of the engraver of GE1 or an erroneously included signs from the cello part in Morch. category imprint: Differences between sources issues: GE revisions |
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b. 50
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composition: Op. 21, Concerto in F minor, Mvt I
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The category imprint: Differences between sources issues: Authentic corrections of GE |
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b. 51
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composition: Op. 21, Concerto in F minor, Mvt I
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The missing staccato dot is a result of an oversight of the engraver of GE1 (→FE→EE). In such a context, the sign refers also to the L.H., which we include in the main text. category imprint: Differences between sources; Editorial revisions issues: Errors in GE , GE revisions |
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b. 51-54
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composition: Op. 21, Concerto in F minor, Mvt I
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Out of four long accents written in A, GE1 reproduced correctly only the first and third, which was unified in the remaining editions, by giving short accents only. It is a result of considering long accents either inaccurately written common accents or short diminuendoes. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE |
in 
sign, unless it is a result of a misunderstanding, could have been added by Chopin in the proofreading of 
