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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 74-75

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

No marks in FE (→EE,GE1GE2)

Staccato dots in GE3

..

In GE3, all quavers in bar 74 were arbitrarily marked staccato. Moreover, dots were added to three chords in the L.H. in bar 75 (after the authentic marks in the R.H.).

category imprint: Differences between sources

issues: GE revisions

b. 76-80

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

No marks in FE (→EE,GE1GE2)

Dots & accents in GE3

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In bars 76, 78 and 80, GE3 repeated the performance marks of the R.H. – staccato dots and accents – in the L.H. part (the accent in bar 80 was not taken into account). 

category imprint: Differences between sources

issues: GE revisions

b. 79

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

No sign in FE (→GE,EE)

​​​​​​​ added by editors

..

We consider the missing ​​​​​​​ hairpin to be an inaccuracy – the mark is featured in violins in FEorch (→GEorch) as well as in all sources in analogous bar 307.

category imprint: Editorial revisions

b. 86-87

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

No marks in FE (→EE,GE1GE2)

L.H. staccato dots in GE3

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In GE3, the authentic staccato marks from the R.H. part were doubled in the L.H.

category imprint: Differences between sources

issues: GE revisions

b. 92

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

No marks in FE (→GE,EE)

Wedges added by editors

..

According to us, the missing staccato marks over the quavers in the 1st half of the bar must be considered an inaccuracy of notation:

  • if Chopin had wanted a different articulation in this place, he would have certainly marked the change, which appears on the seventh appearance of this motif;
  • all the remaining markings – slurs, accents, dynamic hairpins and even wedges in bars 93 and 95 were included (in an identical or very similar form). Therefore, an intentional simplification of notation is out of the question. 

category imprint: Editorial revisions