Issues : GE revisions
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b. 107
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composition: Op. 11, Concerto in E minor, Mvt I
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When interpreted literally, the slur of Atut begins from the 2nd third in bar 107, which was repeated in FE (→EE). In turn, in GE, the beginning of the slur was moved to the beginning of the bar. The fact of beginning the slur from the 1st third, obvious from the point of view of slurring, may also be, to a certain extent, graphically justified – the slurs in bars 104 and 105, unquestionable due to the context, also begin far from the notes they apply to. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , GE revisions |
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b. 111-114
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut (→FE), the slurring of the bass motifs is less accurate here than for the first time (bars 99-102) – the slur encompasses only the quavers in bar 111. According to us, it was caused by the fact that bar 111 is the last one on a page of Atut – while finishing that page, Chopin entered a slur under the part of motif he saw and, due to haste, forgot about the slurs on the next page. It also seems that the slur encompassing the first 3 quavers was the original idea – the shape of the slur in bars 99-100, written first, suggests that Chopin decided to lead it further, to the crotchet, only at the moment of writing it. Taking that into account, in the main text, in bars 111-114, we suggest such slurs as in analogous bars 99-102. In GE and EE, the shorter slur in bar 111 was kept and a similar one was added in bar 113. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 111
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut, the first third in this bar is provided with two staccato marks – a dot under the notes and a wedge over them. Chopin perhaps put the second mark sometime after the first one, which he did not notice when reviewing the manuscript. However, it is uncertain which of the marks was "first." In the main text, we decided to put the wedge, more frequently used by Chopin in that period of his life in similar situations. In FE (→EE), there is a dot, which was probably overlooked in GE. category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions , Wedges |
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b. 127
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composition: Op. 11, Concerto in E minor, Mvt I
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The position of the curved line of Atut, reproduced in FE (→EE), is questionable – it seems that it combines both e notes in this bar. The absence of the curved line in GE1 (→GE2) is most probably a mistake, perhaps caused by ambiguity of the curved line of FE. The curved line added in GE3 could have been an attempt at interpreting that curved line, which is accurate, according to us, also with respect to the curved line of Atut. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , Errors in GE , GE revisions |
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b. 138
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, the category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , EE revisions , Errors in FE , GE revisions , Annotations in FEH |
raising d1 to d
1 was overlooked. The patent mistake was corrected in the remaining editions. The mark was added also in