b. 96
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we add cautionary naturals before A and a. The mark before a was added already in GE3. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 96
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut, the repeated quavers in the L.H. are written in an abbreviated manner as a dotted minim with tremolo. category imprint: Differences between sources issues: Abbreviated notation of A |
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b. 96
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composition: Op. 11, Concerto in E minor, Mvt I
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The compliant version of Atut (→FE→EE) differs not only from GE, but also from the orchestral part of FEorch (→GEorch), in which the entire bass group – cellos and double-basses, bassoons and trombone – feature a B-b throughout the first two beats of the bar. The discrepancy could have been intentional or emerged as a side effect of uncoordinated corrections of the orchestral part and its reduction, for which Chopin is to blame. In the case of the latter, it could be the version of GE that corresponded to the composer's intention. Even if this were the case, it still would not prove a Chopinesque proofreading of GE1, since the change could have been introduced by the reviser on the basis of comparison of GEpiano with GEorch (the composer's participation in the proofreading of GE1 is highly unlikely – see the characterization of that edition). category imprint: Differences between sources; Source & stylistic information issues: GE revisions |
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b. 96
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut (→FE), there is no before e3, which is necessary, considering the notation with octave sign used in these sources. The mark was added both in EE and GE; in the latter, it was added despite the fact that the use of an octave sign was abandoned. category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 96-98
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut, the slur in bar 96, ending the line, is led far beyond the bar line; therefore, one can assume that, in spite of its missing ending in the next line, Chopin planned a much longer slur, most probably of a similar range to the one featured four bars before. We adopt such an interpretation in the main text. In FE (→EE,GE1→GE2), the slur was led only to the beginning of bar 97, whereas in GE3, it was shortened even more, so that it encompassed only the semiquavers in bar 96 (cf. the note to bar 93). category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Inaccurate slurs in A , GE revisions |