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b. 135
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 137-138
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composition: Op. 11, Concerto in E minor, Mvt I
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The long accent in bar 137 is Chopin's well thought-out decision – visible traces of corrections (erasures) suggest that the composer initially wrote a category imprint: Corrections & alterations; Source & stylistic information issues: Long accents , Corrections in A |
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b. 138
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, the category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , EE revisions , Errors in FE , GE revisions , Annotations in FEH |
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b. 138-139
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composition: Op. 11, Concerto in E minor, Mvt I
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Atut ends in bar 138 with a mark indicating the place where it is incorporated into the main base text of FE (lost), which was most probably an autograph of the entire Concerto in the version for solo piano ([A]), independent or written into a hand-written score. From bar 139 on, there are no manuscripts among the sources of this movement of the Concerto. category imprint: Source & stylistic information issues: Incomplete sources |
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b. 139
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions |
mark leading to the chord in the next bar. The orchestral parts are also provided with an accent in bar 138 (violins and cellos) or indeed a 
raising d1 to d
1 was overlooked. The patent mistake was corrected in the remaining editions. The mark was added also in