Articulation, Accents, Hairpins
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b. 53
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composition: Op. 21, Concerto in F minor, Mvt II
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The notation of the accents in the 1st half of the bar is not entirely clear. In A the first accent has arms of different length, so that it is uncertain whether a long or short sign is to be considered here. The analogy with similar motifs at the beginning of bars 48-49 and 54-55 encourage us to consider it a long accent (our main text). On the other hand, none of the aforementioned bars includes an accent on the 2nd beat, which undermines the power of this analogy. If the version with harmonic accompaniment was chosen in the previous note, one of the versions without accents for the L.H. (second or sixth) is to be selected here. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , GE revisions |
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b. 53-54
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composition: Op. 21, Concerto in F minor, Mvt II
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In both bars, the wedges that emphasise the topmost notes in A, b If in bar 53 the version with harmonic accompaniment was chosen, one of the versions with signs only in the R.H. is to be selected here. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 65
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composition: Op. 21, Concerto in F minor, Mvt II
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In A staccato dots are written over all semiquavers in the R.H. However, GE1 and subsequent editions overlooked the first of them, and it cannot be excluded that it was Chopin's proofreading. In GE2 the 12 dots were repeated under the part of the L.H., which is only a formal intervention, since dots (and slurs) in the Chopin notation are certainly binding for both hands. category imprint: Differences between sources issues: Authentic corrections of GE |
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b. 72
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composition: Op. 21, Concerto in F minor, Mvt II
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Interpretation of three accents written in A at the beginning of the bar is problematic, which could have been the reason they were omitted in GE1 (→FE→EE). In the main text we suggest a solution in which the first two signs are reproduced without changes and the third is interpreted as diminuendo, which, undoubtedly, is required here between the accent at the beginning of the bar, which ends the two-bar crescendo, and the category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , GE revisions |
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b. 76
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composition: Op. 21, Concerto in F minor, Mvt II
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The missing staccato dot over b category imprint: Differences between sources issues: Errors in GE |
1(2) in bar 53 and a
1(2) in bar 54, were reproduced in the editions as dots. 
suggested by the editors
after the last trill. In 
