|
b. 61-62
|
composition: Op. 11, Concerto in E minor, Mvt I
..
It is difficult to say what the reason for a later beginning of the slur in EE was. In turn, an earlier beginning in GE may be related to an inaccurately placed slur in FE, slightly too early, and to a comparison with analogous bar 69. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE |
||||||||
|
b. 62-71
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In bars 62-63 and 70-71, the piano reduction written in Atut (→FE→GE,EE) does not include the B crotchet present in FEorch (→GEorch), serving as an upbeat to the bass line of the cellos. category imprint: Source & stylistic information |
||||||||
|
b. 65-74
|
composition: Op. 11, Concerto in E minor, Mvt I
..
Nothing indicates that the ties sustaining the b1 crotchets in bars 65-66 and 73-74 could have come from Chopin. Theoretically, they could have been added by Fontana, who could perhaps recall Chopin's performances; this possibility allows for qualifying this version as, at most, a variant of questionable authenticity. If the composer wanted to sustain these notes, it would be difficult to explain why he did not mark it while writing Atut, proofreading FE (at least twice) or listening to pupils' performances. category imprint: Differences between sources issues: EE revisions |
||||||||
|
b. 67
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In Atut, the quavers of the middle voice are written as a quaver tremolando. category imprint: Differences between sources issues: Abbreviated notation of A |
||||||||
|
b. 68-72
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In Atut (→FE), the minims in bars 68 and 72 are devoid of extending dots, which, in both cases, must be considered a mistake. Dots were added in GE and EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Rhythmic errors , Errors of A |
