b. 284-286
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composition: Op. 11, Concerto in E minor, Mvt I
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The entries in FEH, probably performed by the pupil's hand, develop the basic fingering idea contained already in bar 283 – the use of the fingers 2 and 1 on the last two semiquavers of each bar. category imprint: Differences between sources |
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b. 285
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composition: Op. 11, Concerto in E minor, Mvt I
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The missing slur in FE (→GE1→GE2) must be an oversight of the engraver (or of Chopin in [A]) – cf. all 7 similar bars. category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |
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b. 285
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composition: Op. 11, Concerto in E minor, Mvt I
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Since the obvious destination of the hairpin is the in the next bar, in the main text, we extend the mark present in FE correspondingly. An identical retouch was introduced already in EE, whereas in GE, the mark was moved (without extending it), so that it reaches the end of the bar. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Scope of dynamic hairpins , GE revisions |
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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 hairpin is not justified here, since the destination of the crescendo was not explicitly indicated – in bar 287, there is no . 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 mark. category imprint: Differences between sources issues: Scope of dynamic hairpins , GE revisions |
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b. 287
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composition: Op. 11, Concerto in E minor, Mvt I
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The in FE (→EE) clearly applies to the 2nd quaver of the bar. In GE1 (→GE2), it was reproduced inaccurately, so in GE3, the indication was erroneously placed at the beginning of the bar. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |