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b. 522-539

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

..

category imprint:

b. 522

composition: Op. 31, Scherzo in B♭ minor

g2 in A (→FC→GE, →FE→EE)

g2 in FESf
..

The natural lowering g2 to g2, written in ink in FESf, defines a version that, according to us, may be considered a potentially authentic variant:

  • Relation to the preceding, ascending sequence (in b. 520) was not approached by Chopin rigorously – cf. the prototype of those motifs in b. 53-56, where a descending chromatic sequence corresponds to an ascending diatonic sequence.
  • The resulting figure is strictly analogous to the next segments of the progression in b. 530 and 534.
  • The intervals resulting between the transitional notes and the ones belonging to the chords in b. 520-521 are whole tone e2-f2, semitone g2-a2 and semitone b2-c3, respectively; the figure in b. 522-523 includes the same scheme of descending intervals when the 4th quaver is g2: whole tone b2-a2, semitone g2-f2 and semitone e2-d2.
  • In this context, the note is clearly of transitional nature, without prejudice to the E major key, consolidated since b. 516.

category imprint: Differences between sources

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FESf

b. 523

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

5 quavers in FE (→EE)

4 semiquavers in GE
..

Like in bar 168, it is not entirely clear whether the change of the manner of writing down the grupetto was an arbitrary decision of GE or the original version, corrected then in FE. In the discussed bar, FE bears visible traces of changes performed in print (they are absent in bar 168); however, it seems that they concerned reduction of the number of small notes between the d2 crotchet and the f2 quaver from five to four and not their beam. Therefore, the accuracy of the above observations would support the first possibility, i.e. an arbitrary change introduced in GE. 

category imprint: Differences between sources

issues: GE revisions

b. 523

composition: Op. 31, Scherzo in B♭ minor

Slur in bar 523 in A (→FE→EE)

Slur to bar 524 in FC (→GE)
..

According to us, the longer slur of FC is an inaccuracy of the copyist, hence in the main text we give the whole-bar slur of A. We consider the other possibility – the slur having been added in FC by Chopin – to be less likely (see, however, b. 531-536).

category imprint: Differences between sources

issues: Inaccuracies in FC

b. 524-525

composition: Op. 39, Scherzo in C♯ minor

End of slur in EE & FE

GC

Slurs in GE
..

The slur ending as soosn as b. 524 must result from the inaccuracy of GC, which, however, was not copied in GE.

category imprint: Differences between sources

issues: GE revisions , Inaccuracies in GC