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Op. 11, Concerto in E minor, Mvt I

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b. 452-453

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

Slur E-B1 in sources

Our suggestion – no slur
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According to us, the fact of beginning a two-note slur from a note provided with a wedge proves that it is a mistake, hence we omit that slur in the main text; we provide the markings in this bar with a similar form to the one in bars 448-449.

category imprint: Editorial revisions

issues: Errors in FE

b. 453

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

f in FE (→EE1)

Octave in GE & EE2 (→EE3)
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It seems that a comparison with analogous bar 449 would point to the correctness of the version of GE. However, differentiating between those bars is justified due to the manner in which they are combined with the preceding figuration, which is each time different:

  • the top g​​​​​​​1 of the octave in bar 449 continues the line of a1, the penultimate semiquaver in bar 448, whereas the c1 and f1 notes, common for chords of both bars, allow for maintaining the hand position unchanged;
  • in bar 453, the direct continuation of b1 from the previous bar is unnecessary, since it is a common note for chords in those bars; from the pianistic point of view, the single f in bar 453 naturally combines with the previous passage thanks to the preserved position of the 1st finger (it allows for avoiding the impression that both hands move parallelly); respective fingering was added in FEH.

It must be emphasised that the strikes of the octaves in bar 453 are enhanced with accents, appearing only just from the 2nd beat of the bar. Taking into account the above arguments and the fact that the authenticity of the changes performed in GE has not been confirmed, in the main text we give the version of FE (→EE1). An octave at the beginning of the bar was introduced also in EE2 (→EE3), probably on the basis of comparison with GE. For unknown reasons, the added note was printed in smaller font.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 453

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

Fingering written into FEH

No teaching fingering
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The fingering of FEH could have been indicated during a lesson with Chopin. If this were true, it would be another argument confirming the authenticity (correctness) of the single f​​​​​​​ note at the beginning of the bar.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 453

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

Short acents in FE (literal reading→EE) & GE3

Long accents in GE1 (→GE2)
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The type of accents used by Chopin does not unambiguously result from the notation of FE – the marks are longer than the definitely short accents (e.g. in bars 474-476) and placed slightly after the notes, which may be an argument for long accents. In the main text, we give short accents, since they seem to be more natural in this context. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in FE

b. 454

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

Inverted accent in FE, contextual interpretation

Accent in GE & EE
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The fact that the accent in FE (→EE,GE1→GE2) is placed between the notes of the f1-f​​​​​​​2 octave is almost certainly a consequence of the first group of semiquavers in the L.H. having been written on the top stave (in GE3, the mark was placed between the staves). Therefore, in the main text we place the accent under the octave, just like in the previous bar. The reversed mark most probably stems from a mistake of the engraver of FE; it was recognised as a mistake already in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions