Articulation, Accents, Hairpins
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b. 137-138
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composition: Op. 11, Concerto in E minor, Mvt I
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The long accent in bar 137 is Chopin's well thought-out decision – visible traces of corrections (erasures) suggest that the composer initially wrote a category imprint: Corrections & alterations; Source & stylistic information issues: Long accents , Corrections in A |
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b. 144-152
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composition: Op. 11, Concerto in E minor, Mvt I
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The accents in bars 144 and 152 added in GE3, seemingly justified by the homogeneous structure of the figurations, do not have to correspond to Chopin's intention. Admittedly, indications serving as a model, which is valid by default in an entire similarly structured section, are a frequent phenomenon in Chopin's pieces (cf. e.g. pedalling in bars 187-193 as well as accents in the Etude in C major, op. 10, no. 1 or slurs in the L.H. in the Nocturne in D category imprint: Differences between sources issues: GE revisions |
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b. 150-151
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composition: Op. 11, Concerto in E minor, Mvt I
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Placing the accents only under the L.H. part, incomprehensible from the musical point of view, is probably a result of an inaccurate reproduction of the autograph's notation. According to us, Chopin most probably wrote the accents between the parts of both hands, which could not be repeated in print. Taking that into account, in the main text we add accents over the R.H. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 153-154
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composition: Op. 11, Concerto in E minor, Mvt I
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The missing staccato dots in EE and GE may be attributed to either a common oversight of the engraver or an omission due to misunderstanding of this subtle articulation detail – cf. a similar situation in the Concerto in F minor, op. 21, the 1st mov., bar 90. category imprint: Differences between sources issues: Errors in EE , Errors in GE |
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b. 162-165
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composition: Op. 11, Concerto in E minor, Mvt I
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The type of accents used in FE at the beginning of bars 162 and 165 is unclear – both marks are clearly shorter than the undoubtedly long accents on the 3rd beat of these bars; however, they are longer than the accents in, e.g. bars 175-176. We assume that local relationships are of a greater importance and we reproduce the accents as short ones. In GE1 (→GE2), the mark in bar 162 is shorter than the one in bar 165, yet it is still shorter than the accents in the second halves of the bars. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE |
mark leading to the chord in the next bar. The orchestral parts are also provided with an accent in bar 138 (violins and cellos) or indeed a 
major, op. 27, no. 1), yet in this context – descending sequences, ending with motifs of a more lyrical character (
rather does not apply to the end of the phrase in bar 146 if Chopin repeated it in bar 147) – omission of a few final marks may as well contain a suggestion to mitigate the virtuoso energy. Even the fact that for the first time two, and for the second, three accents are "missing" may be interpreted as an indication for a more pronounced diminuendo for the second time, which combines well with the course of harmonic tensions. 
