Articulation, Accents, Hairpins
b. 380
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composition: Op. 11, Concerto in E minor, Mvt III
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Chopin would use tenuto dashes in exceptional situations only – see the Concerto in F Minor, Op. 21, 2nd mov., bar 18. category imprint: Differences between sources |
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b. 386
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composition: Op. 11, Concerto in E minor, Mvt III
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The wedge in GE1 (→GE2) is most probably a mistake. On the other hand, one can ponder whether it could be the dots that were printed in FE by mistake in place of wedges. The main theme of this movement, out of which the motif of this and the next bar is derived, was being provided with both types of markings throughout the entire movement, yet in this fragment it is generally wedges that prevail; we can observe them, e.g. next to the bass notes in bars 386-388 and next to a chord in the R.H. in bar 387. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , GE revisions , Wedges |
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b. 387
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composition: Op. 11, Concerto in E minor, Mvt III
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The missing wedge over the 2nd chord is most probably an oversight of FE, repeated in the majority of the remaining editions. The only exception is GE3, in which both chords are provided with dots like in the previous bar. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Wedges |
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b. 390-391
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composition: Op. 11, Concerto in E minor, Mvt III
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In FE, the meaning of the short diminuendo hairpin at the beginning of the 2nd half of the bar is unclear. The marks' size resembles long accents, yet they are placed directly under the 3rd semiquaver triplet. Therefore, we consider long accents or to be the most likely interpretations; the latter was adopted both in GE1 (→GE2) and EE. Extending each mark so that they cover a half of the bar is an arbitrary revision of GE3. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Scope of dynamic hairpins , GE revisions |
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b. 396-399
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composition: Op. 11, Concerto in E minor, Mvt III
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The absence of wedges in GE3 seems to be intentional – the marks in these bars could have been considered erroneous, whereas Chopin could have wanted to mark in this way only the final progression (from bar 402). According to us, it is more likely that it is the missing marks in bars 399-402 that are a result of an oversight. category imprint: Differences between sources issues: GE revisions |