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 , although certainly not as long as in GE3. A natural performance contains both an accent and diminuendo, which is best conveyed in one mark by a long accent or a slightly different short diminuendo hairpin. A similar problem appears also in bars 390-391. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , GE revisions |
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b. 352
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composition: Op. 11, Concerto in E minor, Mvt III
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The slur suggested in the main text corresponds to similar slurs in analogous bars 353 and 354. category imprint: Editorial revisions |
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b. 352
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we suggest a fingering digit entered into FED in an identical situation in the next bar – cf. General Editorial Principles, p. 17. An authentic (printed) fingering of the R.H. is already given in that place. category imprint: Editorial revisions |
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b. 352-353
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composition: Op. 11, Concerto in E minor, Mvt III
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The fingering of FEH partially repeats and complements the printed Chopinesque indications, determining their most natural continuation. category imprint: Differences between sources |
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b. 353-354
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composition: Op. 11, Concerto in E minor, Mvt III
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The fingering of FEH complements the Chopinesque entry from FED; its authenticity seems to be highly likely. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Annotations in FEH |