Articulation, Accents, Hairpins
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b. 328-331
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we interpret four category imprint: Interpretations within context; Editorial revisions issues: Long accents |
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b. 328-331
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composition: Op. 11, Concerto in E minor, Mvt III
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Like in analogous bars 100-103, staccato dots are an arbitrary addition of the revision of GE3. That addition formed a part of a more comprehensive package of editorial measures encompassing performance indications of that Tutti (e.g. staccato dots were added over the repeated g category imprint: Differences between sources issues: GE revisions |
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b. 335-337
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composition: Op. 11, Concerto in E minor, Mvt III
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GE3 arbitrarily provided the last quaver in bar 335 and the first two in bars 336-337 with staccato dots (in the latter only in the R.H.). category imprint: Differences between sources issues: GE revisions |
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b. 347
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composition: Op. 11, Concerto in E minor, Mvt III
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It is unclear which mark Chopin meant at the beginning of the 2nd half of the bar. In FE, the mark resembles an accent (short or long), yet it cannot be ruled out that it was supposed to be a category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , GE revisions |
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b. 360
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composition: Op. 11, Concerto in E minor, Mvt III
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We suggest adding an accent on the 4th quaver in the bar on the basis of a comparison with analogous bar 368. Accentuating thirds gives passages a virtuoso touch and refers to the characteristic rhythm of krakowiak category imprint: Differences between sources; Editorial revisions issues: GE revisions |
in 
indications. After all, it is highly likely that different lengths of marks in [A] were not so regular or meaningful, since the Chopinesque 
mark, generally also indicates an accent. According to us, Chopin most probably meant both fragments to be performed in the same manner.
1 semiquavers in 
.png)
. The accent was added in