|
b. 667
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In FE, the top note of the tremolando is a c3 instead of b2, which one should expect, taking into account the following bars and the analogous phrase in bars 329-332. The patent mistake was rectified both in GE and EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions |
||||||||
|
b. 667-670
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In FE, the middle notes of the tremolando that double the trill are devoid of extending dots. The inaccuracy was corrected in the remaining editions. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Errors resulting from corrections , GE revisions , Rhythmic errors |
||||||||
|
b. 667
|
composition: Op. 11, Concerto in E minor, Mvt I
..
EE added cautionary naturals before the B1-B octave and the b2 minim. category imprint: Differences between sources issues: EE revisions |
||||||||
|
b. 667
|
composition: Op. 11, Concerto in E minor, Mvt I
..
The marcato indication almost certainly refers to the thematic motif in the L.H., which is indicated by the meaning of that indication and by a comparison with analogous bar 229. Engravers would often misplace indications and other marks or assign them to the wrong hand. category imprint: Differences between sources issues: GE revisions |
||||||||
|
b. 667-670
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In the main text, we prolong the wavy lines emphasising the duration of the trills. Neither the range of the wavy lines nor the fact whether they were used in the notation at all influences the performance manner of the trill, hence we choose the most suggestive notation. Chopin would write longer, continuous trills in various ways – cf. e.g. the Waltz in D category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
& 
Major, Op. 64 No. 1, bars