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b. 128

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

No mark in FE (→GE,EE)

Wedge suggested by the editors
..

The missing staccato mark must be considered here an inaccuracy of notation – cf. the three further analogous bars (bars 132, 136 and 140).

category imprint: Editorial revisions

b. 128

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

2 fingering digits in FE (→EE,GE1→GE2)

1 digit in GE3
..

In FE (→GE1→GE2), there are two digits under the first two semiquavers, 1 and 3. The latter may be considered to be a fingering digit or a triplet marking, since in those editions both were engraved in the same font. However, the former seems to be much more likely:

  • placing both digits under subsequent notes, i.e. close to each other, naturally prompts us to interpret them as marks of the same category, which the first digit determines as fingering;
  • Chopin hardly ever marked semiquaver triplets with a digit; he was generally satisfied with them being separated with beams – FE does not contain any such marking in this movement of the Concerto, cf. also, e.g. the 2nd movement of the Concerto from bar 105 or the Etude in G​​​​​​​ Major, Op. 10 No. 5.

Taking into account the above, we interpret the number three as fingering, like it was already done in EE. The absence of the digit in GE3 may be a mistake.

category imprint: Differences between sources

b. 128

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

..

The triplet marking is our addition.

category imprint: Interpretations within context; Editorial revisions

b. 128-129

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

Fingering written into FEH

Fingering in FE (→GE)

Fontana's & Chopin's fingering in EE
..

Both EE and FEH completed only the Chopinesque printed fingering.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FEH

b. 128

composition: Op. 22, Polonaise

f in FE (→EE1)

Quaver d in GE, EE2 & FED

Quaver & crotchet d, our alternative suggestion
..

The fact that the version of FE (→EE1) is erroneous is proven by:

  • missing resolution of the eseventh of the ninth chord without prime (from the previous bar) in the piano part, natural in this context;
  • correction of this note to d in FED;
  • d in the cellos part – situations in which the orchestra part implements a different bass note than the one resulting from the piano part, very rare in Chopin's oeuvre, are generally absent in the Polonaise;

The change of this note to d was introduced in GE and – probably on the basis thereof – in EE2.

The issue concerning the extension of this note – see the note above.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in FE , Terzverschreibung error , GE revisions