Articulation, Accents, Hairpins
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b. 300-301
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composition: Op. 11, Concerto in E minor, Mvt III
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The staccato dots in GE3 are an arbitrary addition, probably moved from a few parts of the orchestral part of FEorch (→GEorch). category imprint: Differences between sources issues: GE revisions |
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b. 302-303
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composition: Op. 11, Concerto in E minor, Mvt III
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In this case, the staccato dots added in GE3 are partially justified – this is how three chords in bar 75 (counterpart of bar 303) are marked in FE. The reviser of GE3 was more zealous here than in bars 74-75, in which he left the last quaver in bar 75 without additions. category imprint: Differences between sources issues: GE revisions |
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b. 304-308
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composition: Op. 11, Concerto in E minor, Mvt III
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In this case, the staccato dots and accents added in GE3 in bars 304, 306 and 308 may be considered justified – they are authentic indications present in the R.H. in analogous bars 76, 78 and 80. category imprint: Differences between sources issues: GE revisions |
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b. 320
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composition: Op. 11, Concerto in E minor, Mvt III
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The added wedge may be considered justified – in analogous bars the respective note is always marked staccato. In spite of that, in the main text we preserve the version of FE (→GE1→GE2), since the note may be considered to be the first appearance of the top pedal note, and it cannot be excluded that Chopin imagined it being performed differently than before. category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 326
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composition: Op. 11, Concerto in E minor, Mvt III
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The missing category imprint: Differences between sources issues: Authentic corrections of FE |
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