b. 94
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Differences between sources |
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b. 94
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composition: Op. 11, Concerto in E minor, Mvt II
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Like in the case of the slur, the missing wedges over the 1st quaver in the bar (in both hands) in GE prove that Chopin most probably added them in the last phase of proofreading of FE (→EE). category imprint: Differences between sources issues: Authentic corrections of FE , Wedges |
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b. 95-98
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composition: Op. 11, Concerto in E minor, Mvt II
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The traces of corrections visible in FE prove that Chopin devoted a great deal of attention to the slurring, e.g. he moved the beginning of the slur in bar 95 a quaver earlier, he combined the slurs at the transition between bars 95-96, while in bar 98 he combined two half-bar slurs in one. category imprint: Source & stylistic information issues: Authentic corrections of FE |
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b. 96
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composition: Op. 11, Concerto in E minor, Mvt II
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Naturally, the version of GE1 is erroneous – cf. all variants of this phrase in bars 47, 49 and 98, where the respective note is never lowered. A sharp was most probably added as part of a routine revision of accidentals – the reviser probably did not recognise the unusual G major key and having considered the f2 note in the 1st half of the bar to be a typical alteration of g2, he "corrected" the alleged oversight of its cancellation. The mistake was corrected in GE2 (→GE3). category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions |
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b. 96
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composition: Op. 11, Concerto in E minor, Mvt II
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One can ponder what type of accents Chopin meant in this bar – the markings are slightly longer than the undoubtedly short accent in bar 99, but clearly shorter than those in bar 94 (over e4) and 95 (over e). Due to this reason, we assume that they are short accents. The absence of the second marking in GE may be an oversight. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in GE |