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b. 391
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, there is no category imprint: Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions |
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b. 391
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composition: Op. 11, Concerto in E minor, Mvt I
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It seems to be impossible to decide whether Chopin meant here a staccato dot (like in the next bars) or a wedge (like in the previous ones). The editors would often confuse these marks; it is also difficult to differentiate between them in the Chopinesque autographs. In the main text we give a dot, since FE is the only edition based directly on [A]. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 391
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composition: Op. 11, Concerto in E minor, Mvt I
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In EE2 (→EE3), there is no wedge next to the 1st quaver of the bar. It must be an accidental oversight, a side effect of the arbitrary change of pitch of that note – see the adjacent note. category imprint: Differences between sources issues: Errors in EE |
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b. 391-392
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composition: Op. 11, Concerto in E minor, Mvt I
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A shorter slur in GE3 is an arbitrary intervention or simply an inaccuracy. However, taking into account frequent inaccuracies of the slurring in [A], one cannot be certain whether the slur of FE conveys the notation of that autograph correctly. category imprint: Differences between sources issues: GE revisions |
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b. 391
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composition: Op. 11, Concerto in E minor, Mvt III
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Moving the slur under the stave was certainly caused by graphic issues. The absence of the slur in GE3 can be explained by an oversight or revision. category imprint: Differences between sources issues: EE revisions , Placement of markings , Errors in GE , GE revisions |
before f2, which was a frequently used procedure in this layout – it was the mark placed earlier before a note sounding an octave higher, but written at the same pitch that was considered to be valid. The remaining editions added a 
