Articulation, Accents, Hairpins
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b. 407
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composition: Op. 21, Concerto in F minor, Mvt III
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The accent in A seems to be short; however, when the note head of the minim had not been set in bold type yet, the impression could have been different. Therefore, it may be possible that it is actually the accent in GE1 (→FE), clearly longer than the accents in bars 401-402, that reproduces the proportions between the accent and the note head before it was set in bold type, hence written by Chopin's hand. Since a long accent seems to be more appropriate in this case, in the main text we give a sign in the form interpreted by GE1. category imprint: Differences between sources issues: Long accents , GE revisions |
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b. 410-419
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composition: Op. 21, Concerto in F minor, Mvt III
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In A, the staccato marks at the beginning of bars 410-411 and 418-419 (in the part of the R.H.) are clear wedges – cf. the dots in the part of the L.H. The editions reproduced them as dots (as in the entire Concerto); at the same time, EE overlooked the sign in bar 410, whereas FE – in bar 418 (added in EE). category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies , Wedges |
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b. 412
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composition: Op. 21, Concerto in F minor, Mvt III
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The Chopinesque long accent was interpreted in GE1 as a category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE |
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b. 413-421
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composition: Op. 21, Concerto in F minor, Mvt III
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The wedge at the beginning of bar 413 was reproduced in GE as a dot. In FE (→EE) the sign was overlooked. No staccato mark in analogous bar 421 must be Chopin's oversight: it is the first bar on a new page of A, which was frequently related to various inaccuracies of notation. category imprint: Differences between sources; Editorial revisions issues: Errors in FE , Inaccuracies in GE , Wedges , Inaccuracies in A |
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b. 414-415
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composition: Op. 21, Concerto in F minor, Mvt III
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It is uncertain what kind of staccato marks Chopin used in A at the beginning of these bars. The sign in bar 414 seems to be a small wedge, whereas the one in 415 – rather a dot. When repeating this fragment, Chopin wrote only one mark – a dot in bar 454. According to us, one can safely assume that Chopin had one type of marks in mind. The argument for wedges is the rhythmic similarity of these bars to bars 409-410, in which the use of wedges does not raise major doubts. On the other hand, the difference in articulation between these pairs of bars seems to be justified by a harmonic difference, particularly the change of mode from major to minor. In this situation, it is both the dots and the wedges that can be considered to be corresponding to Chopin's intention. No staccato marks in GE1 (→FE→EE) must be an oversight, whereas GE2 added dots. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , GE revisions , Wedges |
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