mUltimate Chopin

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Issues : Annotations in FEH

b. 59

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

No extra notes in FE (→GE,EE)

3 notes in FED

4 notes in FEH, possible interpretation
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Interpretation of the draft notation in FED is hypothetical to a significant extent – it is only 3 note heads that are written on the ledger lines, without stems or beams. Therefore, it is unknown in which rhythm they should be performed; their pitch is also unclear, since only the middle one is a distinctly written c3 note. We present the most likely interpretation, based on the following premises:

  • the draft nature of the entry suggests an obvious, easy-to-remember figure, e.g. repeated notes;
  • if the person entering these notes wanted them to be performed still before the end of the passage in the L.H., he or she could have easily written them in the corresponding place (earlier). In turn, it was difficult to fit them still before c3 on the 5th beat of the bar, but already after the minim in the L.H. It supports the placement suggested by us;
  • a variant implementing most likely a similar idea, written with quavers, is to be found in FEH.

According to us, such a placement of repeated c3 notes – directly before the triplet that ends the bar – is not excluded also by the notation of FEH, which we suggest as an alternative interpretation of that source. Naturally, none of the variants described in this note can be linked with the literal reading of the entry in FEH which occurs in the 1st half of the bar. 

category imprint: Interpretations within context; Differences between sources

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

b. 59

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

Fingering written into FEH

No teaching fingering
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category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 60

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

No ornament in FE (→GE,EE)

Arpeggio sign in FEH

Our variant suggestion
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Taking into account a high likelihood of authenticity of other entries in FEH in this fragment, cf. bar 57, 58, 59 and 61, we consider this entry to be most likely authentic and include it in the main text.

category imprint: Differences between sources

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

b. 61

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

No arpeggio passage in FE (→GE,EE)

Probable interpre­tation of arpeggio written in FES, contextual interpretation

Arpeggio written into FEH, literal reading

Arpeggio in FEH, possible interpretation 
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We reproduce the insertion in FEH in its literal form, interpreting the antepenultimate note as a harmonically justified a2, and not b2. It is unclear whether the added passage was meant to complete the arpeggiated chord or to replace it; we consider the first possibility to be more likely. According to us, one also cannot rule out that this entry is a kind of an abbreviation – it defines a model that is to be developed into a longer figuration. We suggest a possible addition based on this assumption as an alternative interpretation of the entry. At the same time, in the descending part of the passage, we use the idea included in a variant in FES, left without placement, which is clearly similar in terms of rhythm, interval structure and hand position.
Irrespective of the problems concerning the interpretation of the insertion in FEH discussed above, its very presence is a proof that the entry of FES should be situated in this place in spite of the missing  lowering c3 to c3 – such inaccuracies are typical of Chopin's notation and belong to the most frequent flaws in the notation of his works.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Accidentals in different octaves , Annotations in FES , Authentic post-publication changes and variants , Annotations in FEH

b. 63

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

FE (→GE,EE)

FEH
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The authenticity of the variant written in FEH seems to be highly likely (like in the case of the remaining variants in this movement of the Concerto – see e.g. bar 29 or 57). It is noteworthy that this version, although it does not strictly correspond to the orchestral part, results in a smoother combination of bars 63-64 when performed on one piano. According to us, such a subtle and dexterous consideration of the specific nature of the one-piano version's sound clearly points to Chopin being the author of this variant.

category imprint: Differences between sources

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