mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

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b. 536

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

..

Like in bar 181, Chopin wrote down sustention of b in a simplified manner, adding an additional crotchet stem and extending dot to the 4th semiquaver. In the main text, we give a more accurate notation, used by Chopin in all analogous places.

category imprint: Editorial revisions

b. 537

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

b repeated in FE

b tied in GE1 (→GE2) & EE

b tied & augmented in GE3
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The version of FE is almost certainly erroneous – cf. all the remaining analogous figures. Both in GE and EE, the tie of b was added, yet only GE3 added a dot extending this note.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors resulting from corrections , GE revisions , Authentic corrections of FE

b. 543

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

No upper voice in FE (→EE,GE1→GE2)

Upper voice in GE3
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The missing marking of the top voice is obviously an inaccuracy of notation. In FE, the slur, placed high above that figure, suggests that stems and beam were planned here, but were overlooked by the engraver, perhaps due to the need to correct an erroneous note (one can see traces of removal of d3 at the beginning of the 3rd beat of the bar). The top voice was completed in GE3. 

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , Terzverschreibung error , GE revisions , Authentic corrections of FE

b. 548-549

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

a1 repeated in FE (→GE)

a1 tied in EE

Tie to a1 suggested by the editors
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We consider the missing tie of a1 to be an oversight – cf. bars 193-194. The tie was added in EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 556

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

Rhythm in FE (→EE) & GE3

Rhythm in GE1 (→GE2)
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In the version of GE1 (→GE2), the first 4 notes and rest constitute an unmarked semiquaver quintuplet. Nothing points to authenticity of that version, although it is practically very close to the actual performance – see the commentary to the Scherzo in C​​​​​​​ Minor, Op. 39, bar 47. The version of GE3 was probably introduced on the basis of analogy with similar bars of exposition. 

Like in bar 197, 199 and 201, in FE one can see traces of swapping rhythmic values of the 2nd and 3rd notes – initially, the 2nd note was a semiquaver, whereas the 3rd one – a demisemiquaver.  

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Errors in GE , GE revisions , Authentic corrections of FE , Inserted rest