mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

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b. 1

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

No marking in ATut

Metronome marking in FE (→GE,EE)
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The missing metronome marking in Atut proves that Chopin added it in a proofreading of FE (→GE,EE).

category imprint: Differences between sources

issues: Metronome tempos , Authentic corrections of FE

b. 1

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

 in Atut, literal reading

 in Atut, possible interpretation

 in Atut (other interpretation→FE→GE,EE)
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The manner the  mark is written in Atut makes it unclear whether the mark concerns the beginning of the piece or the beginning of bar 1, like it was interpreted in FE (→GE,EE). In the main text we adopt the second interpretation, since according to the most frequently applied rule, the marks are written in the place from which they are valid or slightly earlier. A dynamic mark after the bar line separating the upbeat can be found in Chopinesque autographs – cf. e.g. the Etude in A minor, op. 25, no. 4.

category imprint: Graphic ambiguousness; Differences between sources

issues: Centrally placed marks

b. 1-2

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

Slur in Atut (→FE→EE,GE1→GE2)

No slur in GE3
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The missing slur in GE3 seems to be an oversight.

category imprint: Differences between sources

issues: Errors in GE

b. 4

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

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In Atut, there is no  raising the bottom note of the L.H. on the 3rd beat of the bar. This patent inaccuracy was corrected in FE (→GE,EE). There is a similar situation in bar 12.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Authentic corrections of FE , Inaccuracies in A

b. 6-7

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

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In GE, cautionary naturals were added before g1 in the last chord in bar 6 and before the G-g octave in bar 7. 

category imprint: Differences between sources

issues: GE revisions