The deletions visible on this page of A (bars 291-298) point to an evolution of the articulation markings of the crotchets at the beginning of this and analogous bars. In the discussed bar, Chopin initially left the accents over d
1 and d, which he then crossed out and replaced with wedges. He also wrote wedges – in both hands – in bars 296 and 298. All signs in the L.H. were then crossed out, which we consider to be a binding decision; respective slurs in the entire fragment in quasi-unison are written only in the R.H. (except for bars 305-306).
On the next page A has wedges over the R.H. and dots over the L.H. (between G and g) in three subsequent bars – bars 300, 302 and 304. Taking into account the described deletions of the signs concerning the L.H., we consider the signs in the L.H. to be an element of an earlier concept of markings, thus we do not include them in the main text.
In GE (→FE→EE) all wedges were reproduced as dots, which is a very frequent inaccuracy in the Concerto. The likelihood of authenticity of other minor deviations from the notation of A also seems to be low, i.e. of the staccato dot over d in bar 294 in GE (→FE→EE) and of the omission of the sign in bar 296 in FE (→EE).
In EE and GE2, in all places including dots in the R.H., separate signs for respective notes in the L.H. were added, which, in the face of the deletions in A, does not seem to correspond to Chopin's intention.
Compare the passage in the sources »
category imprint: Differences between sources
issues: Inaccuracies in GE, GE revisions, Wedges
notation: Articulation, Accents, Hairpins
