mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

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b. 12

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

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In the part of the L.H. in Atut, a  is present only next to d in the 1st octave. In FE, a  was added next to the bottom note of this octave, while in the remaining editions, it was added also next to d1.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Authentic corrections of FE , Inaccuracies in A

b. 13-15

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

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Upon the first appearance of the three five-note descending motifs, it is the inconsistency between the authentic piano reduction, contained in Atut (→FE→GE,EE), and the orchestral parts of FEorch (→GEorch) that draws our attention. The doublings in the upper octave are present only in the motif spanning bars 15 and 16, performed by Violins I, Violas and Cellos. In the 2nd half of bar 13, only Flute I plays, with the Flute II joining in unison for the following two notes, whereas the repetition of the motif in bars 14-15 is performed by Bassoon I. 
​​​​​​​For other discrepancies of this kind see bars 15-19 and 33.

category imprint: Source & stylistic information

b. 14-18

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

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In bars 14-15 and 18-19, in accordance with Atut (→FE→GE,EE), we give the melodic voice only. In the orchestral part made of parts FEorch (→GEorch), there is also a harmonic background of strings (c1-g1-e2). See bar 499.

category imprint: Source & stylistic information

b. 14

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

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Following GE, in the main text we add cautionary naturals before b1 and b2. The latter was added also in EE2 (→EE3).

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 18

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

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In the main text, we add cautionary naturals before b1 and b2.

category imprint: Editorial revisions