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b. 436
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we add a cautionary category imprint: Editorial revisions |
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b. 436
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composition: Op. 11, Concerto in E minor, Mvt I
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The traces of changes visible in FE prove that Chopin changed the enharmonic notation of the chord – c1 (with a cautionary category imprint: Corrections & alterations; Source & stylistic information issues: Cautionary accidentals , Enharmonic corrections , Last key signature sign |
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b. 436-437
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composition: Op. 11, Concerto in E minor, Mvt I
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The moment of division of the slurs in FE is unclear – the slurs generally overlap over A, yet the shape of the slurs suggests rather the interpretation that we deemed to be likely. However, slurs in analogous places indicate a division of the slur before the penultimate semiquaver. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , GE revisions |
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b. 436
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we begin the slur from the 1st semiquaver, in accordance with the slurs FE contains in the majority of analogous bars. Staccato dots are an arbitrary addition of a revision of GE3. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 436-437
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composition: Op. 11, Concerto in E minor, Mvt I
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We consider the missing slur in FE to be an oversight (of the engraver or Chopin). The slur suggested in the main text is modelled after authentic slurs in analogous bars 412-414. The range of the slur added in EE is unclear – when interpreted literally, it encompasses the last 9 semiquavers in bar 436; however, its shape and placement suggest that it was supposed to have the same range as the one given by us. The version of GE3 is arbitrary. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
before c2, after a sign written by Chopin an octave higher in an analogous figure in the previous bar.
1. The change was most probably followed by subsequent ones – the cautionary naturals before the c1 semiquaver in bar 436 and c2 in bar 437 were removed. All those accidentals are actually superfluous after bars 434-435; however, they prove that the B major key, present from bar 324, triggered the composer to clearly mark the return to the E minor key, beginning in the discussed bars. 
