Issues : GE revisions
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b. 139
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions |
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b. 139-148
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composition: Op. 11, Concerto in E minor, Mvt I
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The slurs in the L.H. added in bars 139-140 and 147-148 in EE and GE3, although substantially justified, are unnecessary, since Chopin would generally consider the slurs over the R.H. to be enough in such contexts – cf. e.g. the slurs in the first part of the Etude in B minor, op. 25, no. 10. category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 141
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE (→EE1), the dots prolonging the E-B minim were overlooked. The patent mistake was corrected in GE and EE2 (→EE3). category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Rhythmic errors , Errors repeated in EE |
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b. 142-144
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composition: Op. 11, Concerto in E minor, Mvt I
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The missing slur is most probably an oversight in this case, attributed to Chopin or the engraver of FE (→EE1,GE1→GE2), cf. an analogous phrase 4 bars later. The slur in bars 143-144 was completed in EE2 (→EE3), whereas in GE3 – over the entire semiquaver sequence. In the main text, we suggest the latter, provided that the authentic slur could have been led further, perhaps up to bar 146. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 144-152
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composition: Op. 11, Concerto in E minor, Mvt I
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The accents in bars 144 and 152 added in GE3, seemingly justified by the homogeneous structure of the figurations, do not have to correspond to Chopin's intention. Admittedly, indications serving as a model, which is valid by default in an entire similarly structured section, are a frequent phenomenon in Chopin's pieces (cf. e.g. pedalling in bars 187-193 as well as accents in the Etude in C major, op. 10, no. 1 or slurs in the L.H. in the Nocturne in D category imprint: Differences between sources issues: GE revisions |
raising d2 to d
2. The patent mistake was corrected in the remaining editions.
major, op. 27, no. 1), yet in this context – descending sequences, ending with motifs of a more lyrical character (
rather does not apply to the end of the phrase in bar 146 if Chopin repeated it in bar 147) – omission of a few final marks may as well contain a suggestion to mitigate the virtuoso energy. Even the fact that for the first time two, and for the second, three accents are "missing" may be interpreted as an indication for a more pronounced diminuendo for the second time, which combines well with the course of harmonic tensions.