Issues : Authentic corrections of FE
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b. 543
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composition: Op. 11, Concerto in E minor, Mvt I
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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 |
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b. 550-554
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composition: Op. 11, Concerto in E minor, Mvt I
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In the entire fragment (bars 550-556), GE is devoid of arpeggio marks, in spite of the fact that in FE (→EE) arpeggios are featured in 3 places – before the 1st chord in bar 550 and 553 and before the minim in bar 554. The excessive length of marks, which consist of six and not four parts, like the majority of arpeggios in the Concerto (e.g. in bars 570 and 572 placed on the same page in FE), seems to indicate the fact that the wavy lines were added in the last phase of proofreading of FE as the reason for the absence of marks in GE. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 556
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composition: Op. 11, Concerto in E minor, Mvt I
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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 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 |
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b. 570
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, one can see traces of removal of the third category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE |
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b. 585
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composition: Op. 11, Concerto in E minor, Mvt I
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Like in analogous bar 226, the bottom note of the tenth on the 3rd beat of the bar, B, was almost certainly added only just in print, during proofreading. category imprint: Source & stylistic information issues: Authentic corrections of FE |
Minor, Op. 39, 
. Chopin most probably reduced the dynamics from 
to 
. Shift of