Main text
Main text
½A - Semi-autograph
A - Autograph of the piano part
Morch - Manuscript of the orchestra part
GE - German edition
GE1 - First German edition
GE1a - Retouched impression of GE1
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
EE3 - Corrected impression of EE2
compare
  b. 72

3 accents in A

No marks in GE1 (→FEEE)

1 accent in GE2

2 accents &  suggested by the editors

Interpretation of three accents written in A at the beginning of the bar is problematic. The first, slightly bigger and written in a clearer manner, falls under the g2-bthird of the orchestral reduction, the second – under the trilled d2 minim. In spite of the fact that both signs are written one after another, they practically concern the same strike, which, however, can be considered to be logical, since it is a consequence of the layout in which the orchestral part is written before the solo part. In turn, it is unclear to which element the third sign should apply, falling during the trill. The source of this ambiguity may be an inaccurate or unfinished correction – the second and third signs are written in a place where something had been erased.

All signs were omitted in the editions, except for GE2, which reproduced one of them, corresponding to two smaller ones in the notation of A.

In the main text, we interpret the third sign as a diminuendo, which undoubtedly is required here between the accent at the beginning of the bar (ending the two-bar crescendo) and the  after the last trill. 

Compare the passage in the sources »

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in GE, GE revisions

notation: Articulation, Accents, Hairpins

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