mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

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b. 69

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

No marking in Atut (→FE→EE)

in GE
..

The  indication in GE is either a revision by analogy with bar 61 or a mistake resulting from the similarity of these bars (concerning their position as well – both bar 61 and 69 open new lines of text).

category imprint: Differences between sources

issues: GE revisions

b. 72-73

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

B tied in Atut

B repeated in FE (→GE,EE)
..

The missing tie of B is probably an oversight of the engraver of FE (→GE,EE). It cannot be excluded that the engraver did not understand the meaning of the curved line of Atut, since Chopin, as was his custom, wrote only a short curved line through the bar line, hence it is not evident that its left-hand ending is supposed to reach the B minim.   

category imprint: Differences between sources

issues: Errors in FE

b. 75

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

Crotchet B1-B in Atut

Crotchet B1 in FE (→EE,GE1→GE2)

Grace note B1 in GE3
..

In the main text, we keep the notation of Atut, since the notation of FE (→EE,GE1→GE2), musically equal, probably originated by chance. The version with grace note is one of the elements of the complex revision of GE3, which, moreover, included added fingering and pedalling. 

category imprint: Differences between sources

issues: Inaccuracies in FE , GE revisions

b. 75

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

No fingering in Atut (→FE→EE,GE1→GE2)

Fingering in GE3
..

The fingering of GE3, although undoubtedly reasonable, is certainly arbitrary.

category imprint: Differences between sources

issues: GE revisions

b. 75

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

No pedalling in Atut (→FE→EE,GE1→GE2)

    in GE3
..

category imprint: Differences between sources

issues: GE revisions