Articulation, Accents, Hairpins
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b. 286
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composition: Op. 11, Concerto in E minor, Mvt I
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Differently than in the previous bar, the extension of the category imprint: Differences between sources issues: Scope of dynamic hairpins , GE revisions |
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b. 288
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we add a long accent after bar 304 as well as 287 and 303. category imprint: Editorial revisions |
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b. 291-295
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composition: Op. 11, Concerto in E minor, Mvt I
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The inaccurate reproduction of the long accents, very frequent in the Concerto and other pieces by Chopin, is very likely in this context. Due to this reason, in the main text we suggest this kind of accents. category imprint: Interpretations within context; Editorial revisions issues: Long accents |
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b. 295
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composition: Op. 11, Concerto in E minor, Mvt I
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The mark in EE3 was added undoubtedly under the influence of analogous bar 311, in which, however, the dynamic marks are generally different (even contradictory on the 3rd beat of the bar), and nothing suggests that Chopin would have accepted the possibility of compiling them. category imprint: Differences between sources issues: EE revisions |
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b. 307-310
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composition: Op. 11, Concerto in E minor, Mvt I
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As before, in the main text we suggest long accents in bars 307 and 310, more suitable for minims in this harmonic context. category imprint: Interpretations within context; Editorial revisions issues: Long accents |
in 
. After all, a shorter mark does not determine the performance manner – one can consider it a suggestion that the climax should occur slightly earlier to prepare the upcoming 
to a certain extent; however, one can also consider sempre cresc. to be valid until the end of the bar, irrespective of the range of the 
in 
