Articulation, Accents, Hairpins
b. 219
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composition: Op. 21, Concerto in F minor, Mvt III
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Moving the sign under the stave and shifting it to the beginning of the bar must be arbitrary changes of GE (→FE). Both changes considered together impede the correct interpretation of this sign, which applies to the top notes of the figuration in the R.H., separated with additional crotchet stems. The absence of the sign in EE is probably a result of a revision – it was assumed that there is no need to double diminuendo signs. See also bar 220. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 220
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composition: Op. 21, Concerto in F minor, Mvt III
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Same as in the previous bar, the sign was moved to between the staves and slightly shifted (this time to the right). The absence of the sign in FE (→EE) can be explained by an oversight; however, it cannot be excluded that Chopin removed the hairpin as a part of the proofreading of the part of the L.H. According to us, even if it were Chopin's proofreading, it did not concern the sign written in A, applying only to the part of the R.H. category imprint: Differences between sources issues: Errors in FE , Inaccuracies in GE |
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b. 235
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composition: Op. 21, Concerto in F minor, Mvt III
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Change of the type of accent to short is one of many inaccuracies of this kind in EE and GE2. category imprint: Differences between sources issues: Long accents , Errors resulting from corrections , Errors in GE |
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b. 237-238
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composition: Op. 21, Concerto in F minor, Mvt III
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The shortened hairpin in the editions was certainly a result of inaccuracy of the engraver of GE1. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins |
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b. 241
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composition: Op. 21, Concerto in F minor, Mvt III
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The missing staccato dot in GE (→FE→EE) is almost certainly a consequence of the oversight of the engraver of GE1. category imprint: Differences between sources issues: Errors in GE |