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b. 361
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composition: Op. 11, Concerto in E minor, Mvt III
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The missing third accent is almost certainly an oversight – cf. bars 363 and 371. category imprint: Editorial revisions |
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b. 361-369
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composition: Op. 11, Concerto in E minor, Mvt III
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In bars 361 and 369, identical in terms of rhythm, the rests of FE are of different rhythmic value – there is a quaver rest in bar 361 and a crotchet one in bar 369. Both notations mean practically the same and both can be considered justified:
It is difficult to determine whether it is a result of a mistake of the engraver or Chopin's hesitation. The notation was unified both in GE and EE, although differently in each edition. Each of those versions may correspond to Chopin's intention. However, since the performance manner is unquestionable, we preserve the differentiated notation of FE in the main text. category imprint: Differences between sources issues: EE revisions , Chopin's hesitations , GE revisions |
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b. 361-363
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composition: Op. 11, Concerto in E minor, Mvt III
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In FE, only some of the g notes (in various octaves) are provided with necessary naturals – G and g2 in bar 361 and G-g in bar 363 (Chopin would often repeat accidentals before tied notes, which we do not apply in our transcriptions – see General Editorial Principles). All necessary accidentals were already added both in GE and EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , Omission of current key accidentals |
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b. 361
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composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources issues: EE revisions |
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b. 361-363
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composition: Op. 11, Concerto in E minor, Mvt III
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In each of these bars (as well as in bar 360), Fontana marked in EE a finger swap on the G notes – from first to fifth in bars 360 and 362 and from fifth to first in bars 361 and 363. Such a fingering is a natural consequence of holds of those notes, carefully marked by Chopin; however, the fingering's function is not limited to the realisation of the octave sound of the bass note, which, e.g. in bars 362-363, is already guaranteed by the pedalling. Finger swaps on tied notes provide for a convenient and secure grip of the played notes (g and G1), which allows the performer to concentrate on the virtuoso passages in the R.H. category imprint: Differences between sources issues: EE revisions |
