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Op. 11, Concerto in E minor, Mvt III

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Articulation, Accents, Hairpins

b. 256

composition: Op. 11, Concerto in E minor, Mvt III

No mark in FE (→GE)

Wedge in EE
..

Like in the case of the slurs, the wedge added by EE over b may also be considered justified.

category imprint: Differences between sources

issues: EE revisions

b. 262

composition: Op. 11, Concerto in E minor, Mvt III

No sign in FE (→GE,EE)

[] suggested by the editors
..

When interpreted literally, the authentic indications of dynamic nature do not create a coherent vision – the dolciss. indication appears in the middle of the bar after  in bars 260-261, without noticeable connection to melody, harmony or rhythm. Due to this reason, we suggest adding a ​​​​​​​ mark in the main text. However, it is only one of possible interpretations of the original notation – it cannot be excluded that dolciss. should start earlier, i.e. at the beginning of the bar or after the rest. Therefore, it would be an example of the use of the early convention of placing indications within their scope of validity (Chopin would apply it on a number of occasions, particularly in his earlier pieces).

category imprint: Interpretations within context; Editorial revisions

issues: Centrally placed marks

b. 275-276

composition: Op. 11, Concerto in E minor, Mvt III

Dot & wedge in FE (→EE,GE1→GE2)

Two wedges in GE3

Wedge & dot suggested by the editors
..

The articulation markings in these bars are questionable. We consider the dot over the last b1 in bar 275 to be a patent mistake – attenuating the energy contained in this characteristic, octave gesture opening the theme seems to be inconceivable. However, it is unclear whether and which note the dot was supposed to apply to – the potential candidates are the previous quaver (b3) and the 2nd quaver of bar 276 (e2), which are generally provided with staccato marks in the remaining appearances of the theme. In our proposal, we take into account usefulness of an added mark – in bar 276, it clarifies articulation, which does not naturally follow from the hand position like it is in the case of b​​​​​​​3, after which the hand must be moved quickly anyway. A similar solution was adopted in GE3; it can be considered an alternative to our proposal. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 277

composition: Op. 11, Concerto in E minor, Mvt III

No mark in FE (→EE,GE1→GE2)

Wedge in GE3

Wedge suggested by the editors
..

The missing staccato mark is most probably an inaccuracy. It is indicated by the wedge in the analogous situation in bar 273 as well as by the wedge on e​​​​​​​ in the L.H. The mark was added in GE3. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 292-294

composition: Op. 11, Concerto in E minor, Mvt III

Long accents in FE (→GE1→GE2)

Short accents in EE & GE3
..

Both the length of the majority of the accents and their placement, not over the note, but slightly after it (cf. a typical short accent, e.g. in bar 284), indicate the use of long accents by Chopin. However, in EE and GE3, it is difficult to consider the marks to be long in spite of the fact that their asymmetrical placement was preserved.   

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE