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b. 618

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

​​​​​​​in FE (→GE,EE)

Long accent over L.H. suggested by the editors

, our alternative suggestion
..

Like in bar 618, one can assume that the ​​​​​​​ mark placed under a tied, hence non-played note, was placed inaccurately. We suggest two possible interpretations of the mark:

  • a long accent over the L.H. – the mark would be inaccurately placed in terms of its vertical position (cf. bar 617);
  • diminuendo encompassing the quintuplet in the R.H., assuming an accurate placement in terms of its horizontal position.

category imprint: Differences between sources; Editorial revisions

issues: Long accents , Placement of markings , Scope of dynamic hairpins

b. 619

composition: Op. 39, Scherzo in C♯ minor

Short accent in EE & GC (→GE)

Long accent in FE
..

For the main text we adopt the FE long accent. Chopin many times emphasised a falling minor semitone motif, e.g. in Polonaise E, Op. 22, b. 119. 

category imprint: Differences between sources

issues: Long accents

b. 619

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

No slurs in FE (→GE)

Slur in bar 619 in EE

Slurs suggested by the editors
..

Taking into account the fact that similar figures of accompaniment are provided with slurs in the entire section, the absence of slurs in the last two bars must be considered an inaccuracy. A slur in bar 619 was added already in EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 619-620

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

Minims in FE

Dotted minims in GE & EE
..

In the main text, we adopt the enhanced notation, used in GE and EE. The notation of FE is probably earlier, since in the vast majority of similar bars it was changed by Chopin to the latter.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Omitted correction of an analogous place

b. 620

composition: Op. 39, Scherzo in C♯ minor

..

The GC slur extends over to the rest on the second beat of the bar. This was characteristic of a freestyle writing of slurs by Gutmann (and also quite often by Chopin). 

category imprint: Source & stylistic information

issues: Inaccuracies in GC