|
b. 256
|
composition: Op. 16, Rondo in E♭ major
..
In GE, the engraver overlooked the category imprint: Differences between sources issues: Accidentals in different octaves , Inaccuracies in GE |
||||||||
|
b. 256-257
|
composition: Op. 11, Concerto in E minor, Mvt III
..
The octave sign added in FEH most probably defines an authentic variant. According to us, it is much more likely that it was meant to move the entire figure of both hands by an octave, and not only of the R.H. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
||||||||
|
b. 256-257
|
composition: Op. 11, Concerto in E minor, Mvt III
..
The slurs added in EE and GE3, probably by analogy with similar motifs in bars 250-251, may be considered justified – it cannot be ruled out that missing articulation indications in the L.H. are only an oversight. However, the context of both places is not fully analogous – bars 250-251 do not contain slurs, whereas in the discussed bars there is one slur over both figures. That slur can refer to both hands, which makes completion of slurs in the L.H. problematic. category imprint: Differences between sources issues: EE revisions |
||||||||
|
b. 256-257
|
composition: Op. 11, Concerto in E minor, Mvt III
..
From the pianistic point of view, the division of the slur in GE3 is justified – it is most likely that both the present figures and those in bars 250-252 are to be performed with the same articulation Chopin indicated for the first time in the L.H. part. However, the slur of the remaining sources may be understood as phrasing and not articulation, hence we preserve it in the main text. category imprint: Differences between sources issues: GE revisions |
||||||||
|
b. 256
|
composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources issues: EE revisions |
raising a
3 to a3.
