Articulation, Accents, Hairpins
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b. 117
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composition: Op. 21, Concerto in F minor, Mvt I category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 121-122
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composition: Op. 21, Concerto in F minor, Mvt I
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The missing staccato dots under the E category imprint: Differences between sources issues: Errors in GE , GE revisions |
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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. 127
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composition: Op. 21, Concerto in F minor, Mvt I
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Changes of the range of the category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE |
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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 |
notes are certainly an oversight of 
in 
