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b. 128
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composition: Op. 11, Concerto in E minor, Mvt III
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The triplet marking is our addition. category imprint: Interpretations within context; Editorial revisions |
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b. 128-129
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composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 130-143
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composition: Op. 11, Concerto in E minor, Mvt III
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In FE, the majority of the accents in bars 130-131 and analog. are long accents – 7 out of 11 (compared to 2 short and 2 ambiguous); the ratio in GE1 (→GE2) is similar. Taking into consideration the fact that the Chopinesque mark of a long accent was not considered by the engravers to be a long accent but rather a short one or a category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , GE revisions |
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b. 132
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composition: Op. 11, Concerto in E minor, Mvt III
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A comparison with the dynamic markings in analogous bars 136 and 140 points to an inaccurate placement of the category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions , Centrally placed marks |
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b. 132
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composition: Op. 11, Concerto in E minor, Mvt III
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The missing wedge in GE3 may be an oversight; however, it cannot be excluded that the mark was removed on purpose, taking into account the absence of similar marks in analogous bars in GE1 (→GE2). category imprint: Differences between sources issues: Errors in GE |
hairpin, we regard such a representation as a proof that Chopin meant long accents in this place.
on 2nd quaver in 
