mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

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b. 468

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

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In the main text, we add cautionary naturals before the D-d ​​​​​​​octave.

category imprint: Editorial revisions

b. 470

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

Dotted minim in FE (→EE)

Minim in FE (possible reading→GE)
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It is difficult to say whether FE includes a dot extending the B​​​​​​​ minim, since a possible mark is blurred. GE considered it an insignificant misprint, but EE assumed that it is a dot. According to us, the latter seems to be more likely, since it emphasises the continuous character of the bass note, since its notation in the next bar was enharmonically changed. After all, considering the authentic pedalling, this issue has no practical meaning.

category imprint: Graphic ambiguousness; Differences between sources

issues: Different values of chord components , Inaccuracies in FE

b. 470

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

No marks in FE (→GE,EE)

Accent & slur in FED (possible reading)
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It is difficult to interpret the intense entry in FED, although it was most probably repeated a few times. According to us, it is an accent, probably long, on the d​​​​​​​1 crotchet and a slur combining it with e1 in the next bar. However, we do not include those marks in the main text, since that interpretation is uncertain. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 470

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

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The slur could have been added in FED – see the adjacent note.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 470

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

No fingering in FE (→GE1→GE2)

Fontana's fingering in EE

Fingering in GE3
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The fingering digits given in FE (→EE), most probably Chopinesque, do not clearly indicate that the 1st finger should be crossed under, which is key for performing the passage. The addition introduced by Fontana eliminates this understatement. Chopin probably considered the use of the 1st finger on a (a1, a2) to be resulting from the fingering of the previous bars, hence, according to the composer, indications were not required. In turn, he wanted to warn of playing the last note of each of the groups of semiquavers with the 4th finger, which could have been induced by the use of the 4th finger in the previous bar. The addition introduced in GE3 does not offer any new information.

category imprint: Differences between sources

issues: EE revisions , GE revisions