mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

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Issues : Corrections in A

b. 89

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

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In Atut, Chopin initially wrote a tenuto indication over the first chords; however, he eventually abandoned it. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A

b. 93

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

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The indication con forza replaced in Atut the initial .

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A

b. 134

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

a on first beat in Atut

a on 3rd beat in FE (→GE,EE)

a on 1st & 3rd beat suggested by the editors
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In Atut, one can see traces of corrections (erasures), as a result of which some places were spilled with ink, so that it is unclear what is actually written on the top stave. However, since the clearly visible elements perfectly correspond to the orchestral part of FEorch (→GEorch), it is this version that we adopt as the text of Atut. In turn, the text of the editions, clearly different, does not bear traces of corrections in print in FE, which, however, does not mean that there were none – adding an element, e.g. a note, did not have to leave any trace. According to us, the following scenario is likely, among other things – the engraver of FE overlooked the dotted a minim on the bottom stave, which was corrected by Chopin, who added an a crotchet on the 3rd beat of the bar. Both source versions can be considered intended by Chopin. Then again, taking into account the probably most reliable elements of both versions – playing a on the 1st and 3rd beats of the bar, in the main text we suggest a version including both.   

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Errors in FE , Corrections in A , Errors resulting from corrections , Authentic corrections of FE

b. 137-138

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

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The long accent in bar 137 is Chopin's well thought-out decision – visible traces of corrections (erasures) suggest that the composer initially wrote a  mark leading to the chord in the next bar. The orchestral parts are also provided with an accent in bar 138 (violins and cellos) or indeed a  (double-basses).

category imprint: Corrections & alterations; Source & stylistic information

issues: Long accents , Corrections in A