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b. 20

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

in Atut

in FE (→EE,GE1→GE2)

in GE3

suggested by the editors

According to us, Chopin changed the initially written to in Atut, probably with an intention of leaving place for a subsequent crescendo. However, the correction turned out to be incomprehensible for the engraver of FE (→GE,EE), who preserved . Like in bar 16, the mark in Atut is written between the chords, which, according to us, does not mean that it should be applied from the 3rd beat of the bar, like it was reproduced in the majority of the editions.

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category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Inaccuracies in FE , Corrections in A , Errors resulting from corrections

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b. 32

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

In Atut, one can see traces of changing the dynamic marking – while introducing cresc., Chopin removed the previous .

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category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A

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b. 39

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

in Atut

No marking in FE (→GE,EE)

at the beginning of the bar was written in Atut in place of the previous . The absence of a marking in FE (→GE,EE) means that the engraver of FE probably did not understand this correction, considering the mark written in bold font to be a deletion of . In the main text, we preserve the version of Atut, in which Chopin reviewed and corrected the dynamic markings – cf. e.g. bar 20 and 32.

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category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE , Corrections in A , Errors resulting from corrections

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b. 45

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

in Atut (literal reading→FE→GE,EE)

in Atut, possible contextual interpretation

suggested by the editors

The position of the mark, in spite of the compliance of all sources, is questionable. It is most probably an example of the Chopinesque manner of writing indications within the range of their validity; however, it is unclear whether Chopin conceived already at the beginning of the bar, like it was indicated in the orchestral parts (), or from the semiquaver tremolando. In a similar context in bars 99 and 111, is written already at the beginning of the bar, which we consider to be a hint at the time of choosing the version to the main text.