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b. 463-465
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composition: Op. 11, Concerto in E minor, Mvt I
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It is uncertain which kind of accents Chopin meant in bars 463 and 465, since two accents in bar 463 are long, whereas the one in bar 465 – short. As there is no reason to differentiate between the indications, we suggest unifying the marks and choose long accents for the main text. (We also suggest adding an accent at the beginning of bar 465.) category imprint: Differences between sources; Editorial revisions issues: Long accents |
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b. 463-465
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composition: Op. 11, Concerto in E minor, Mvt I
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The ties at the transition between bars 463-464 and 464-465 are placed in the sources on the note head side, which invites to be prudent in their interpretation – in [A], they could have been motivic slurs. The latter do not seem to be necessary here, which is indicated by a comparison with the notation of bars 462-463 and 465-466. On the other hand, ties could have also been intended by Chopin, hence in the main text we add motivic slurs, but we do not remove the ties. category imprint: Editorial revisions issues: Placement of markings |
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b. 464
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composition: Op. 11, Concerto in E minor, Mvt I
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Both sources give different digits, yet the same fingering, compliant with the one Chopin gave in an analogous passage 2 bars later. A similar compliance between EE and FEH is present in the two remaining places in bars 464-465 provided with fingering. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 464-465
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 465
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composition: Op. 11, Concerto in E minor, Mvt I
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As in many other situations, the compliance between the fingering of EE and FEH does not add to the small likelihood of the indications being authentic. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
