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Articulation, Accents, Hairpins
b. 6-7
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composition: Op. 21, Concerto in F minor, Mvt II
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The change of the range of the category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in GE , Corrections in A |
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b. 7-17
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composition: Op. 21, Concerto in F minor, Mvt II
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In A the presence of staccato dots over the bass notes in all figures of this type, both whole-bar (bars 7-8) and half-bar (bars 9-13, 15 and 17) is beyond any doubts, although one is missing (the second in bar 9, over B category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in GE , GE revisions |
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b. 13
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composition: Op. 21, Concerto in F minor, Mvt II
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In view of the deletions in A one can understand that the engraver of GE (→FE→EE) omitted the category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Inaccuracies in A |
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b. 18
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composition: Op. 21, Concerto in F minor, Mvt II
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Omission of tenuto dashes over three octaves in GE1 (→FE→EE), despite having been consistently carried out both in this bar and analogous bar 86, does not seem to be Chopin's proofreading. According to us, it could have been a result of the engraver's misunderstanding of the combination of three articulation indications: a slur, tenuto marks and staccato dots. A slur actually designates also phrasing, while dots under a slur were generally used by Chopin to mark a lighter and shorter non legato. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 19-20
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composition: Op. 21, Concerto in F minor, Mvt II
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In the main text we give two long accents under the chords ending these bars, since all deviations from this notation present in the editions are a result of inaccuracies or arbitrary revisions. category imprint: Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , GE revisions |