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b. 162-165
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composition: Op. 11, Concerto in E minor, Mvt I
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The type of accents used in FE at the beginning of bars 162 and 165 is unclear – both marks are clearly shorter than the undoubtedly long accents on the 3rd beat of these bars; however, they are longer than the accents in, e.g. bars 175-176. We assume that local relationships are of a greater importance and we reproduce the accents as short ones. In GE1 (→GE2), the mark in bar 162 is shorter than the one in bar 165, yet it is still shorter than the accents in the second halves of the bars. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 162
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composition: Op. 11, Concerto in E minor, Mvt I
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Increasing the duration of the bass note only to a crotchet seems to be insufficient – the bass line is led uninterruptedly further until bar 168. In the main text, we replace this probably inaccurate notation with the one Chopin used in analogous bar 521. category imprint: Editorial revisions |
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b. 165
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources issues: EE revisions |
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b. 168
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composition: Op. 11, Concerto in E minor, Mvt I
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The notation of GE may be a revision or the original version, corrected in the last phase of retouching FE (→EE). In similar contexts, Chopin would use both the notation with a written-out first note of the ornament and without; he would also use, sometimes interchangeably, small quavers or semiquavers (cf. the Concerto in F minor, op. 21, the 2nd mov., bar 33 and 82 as well as bar 20 and 88). Therefore, both notations could be authentic, although in one of the mentioned examples (bar 33), the editor changed quavers to semiquavers. See also bar 523. category imprint: Differences between sources |
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b. 169
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composition: Op. 11, Concerto in E minor, Mvt I
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The interpretation of the fingering in FED is not easy, since the digits were written on top of each other a few times, which hampers their interpretation. Initially, 3 or 4 digits '2' were written in a delicate handwriting: category imprint: Graphic ambiguousness; Differences between sources issues: Annotations in teaching copies , Annotations in FED , Differences in fingering |
. The later layer includes pairs of digits encompassed with little curved lines; some of them were probably changed, but it was most probably 3 groups of 32 that were eventually left. Such notation is generally used to mark changes of fingers; however, in this context, one should rather expect pairs of 23, like it was marked by Chopin in the Variations, op. 2, bars 59 and 61. Therefore, the notation could still be wrong, in spite of corrections. Another possibility is to play three times simultaneously with two fingers. A suggestion for such an exceptional expressive fingering may be recognised also in the Mazurka in A minor, op. 59, no. 1, bar 25.