Issues : Scope of dynamic hairpins

b. 244-245

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

 in FE (→EE,GE1GE2)

No sign in GE3

 in bar 244 suggested by the editors

..

According to us, the  hairpin in bar 245 was placed in the sources on the wrong side of the bar line. It is indicated by the mark in the next, analogous phrase, appearing earlier, at the end of the first bar of the phrase. Such subsequent, short  marks are most probably meant to indicate gentle long accents, hence their accurate placement is essential for the correct interpretation of their meaning. Taking that into account, in the main text we move the mark to under the last triplet in bar 244, after the mark in bar 246, which, according to us, interacts better with the remaining hairpins and accents in bars 244-247.
​​​​​​​The absence of the mark in GE3 is most probably an oversight.

category imprint: Differences between sources; Editorial revisions

issues: Scope of dynamic hairpins , Errors in GE

b. 365

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

​​​​​​​ in FE (→EE)

No sign in GE

​​​​​​​ suggested by the editors

..

The range of the  hairpin in FE (→EE) is questionable – it is disproportionately short to the descending part of the passage, which lasts the entire bar. A possible reason for that inaccuracy could be lack of space under the low-placed beam of the 3rd triplet in [A]. In the main text, we suggest a mark modelled after the more carefully marked passage in bars 356-357. The absence of the mark in GE is most probably attributable to an oversight.

category imprint: Editorial revisions

issues: Scope of dynamic hairpins

b. 390-391

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

 & long accents in FE (probable reading)

  ​​​​​​​​​​​​​​in FE (possible readingEE,GE1GE2)

Longer   ​​​​​​​in GE3

..

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

b. 474-475

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

​​​​​​​ in FE (→EE,GE1GE2)

​​​​​​​ in GE3

..

The significantly shorter  hairpin with respect to analogous bars 472-473, musically unjustified, suggests an inaccuracy of notation. The reason for a later beginning of the mark could have been, e.g. lack of space in [A] – if FE had faithfully reproduced the layout of the autograph, Chopin would have had less space under the L.H. part in the discussed bars due to all stems pointing downwards. In turn, an earlier ending could have been related to the semiquavers passing to the upper stave (both elements of the layout were not taken into account in our transcriptions). Therefore, in the main text we give a ​​​​​​​ mark analogous to the one in bars 472-473. A similar change was introduced in GE3.  

category imprint: Differences between sources; Editorial revisions

issues: Scope of dynamic hairpins , GE revisions