Articulation, Accents, Hairpins
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b. 17
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composition: Op. 11, Concerto in E minor, Mvt III
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According to us, the missing accent over g category imprint: Editorial revisions |
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b. 17-29
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composition: Op. 11, Concerto in E minor, Mvt III
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The final concept for articulation of the first theme developed only just at the stage of proofreading of FE. That edition reveals traces of removal of the slurs combining the 2nd quaver with the subsequent crotchet in bar 17 and 29 and the slur over the first two quavers in bar 21. Therefore, it was most probably only just then that at least some of the wedges were added. category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE |
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b. 18-23
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composition: Op. 11, Concerto in E minor, Mvt III
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The missing category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 34-36
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composition: Op. 11, Concerto in E minor, Mvt III
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EE reproduced the distinct long accents of FE (→GE1→GE2) as short. In GE3, the mark in bar 34 was changed to a category imprint: Differences between sources issues: Long accents , EE revisions , Errors in GE , GE revisions |
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b. 57
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composition: Op. 11, Concerto in E minor, Mvt III
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Reversed marks are quite frequent mistakes – cf. e.g. the 2nd mov. of the Concerto, bar 47 or the Etude in C Minor, Op. 10 No. 12, bar 53. In GE3, the mark was omitted, probably due to inattention – see the next note. category imprint: Differences between sources issues: Errors in GE , Sign reversal |
2 is an inaccuracy of notation – in all analogous bars, 10 times in total, the respective note is accentuated. In the main text, we add a vertical accent, with which Chopin provided such a crotchet in 5 subsequent appearances of that phrase.
in 
in bar 34 in 
