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Op. 11, Concerto in E minor, Mvt I

Text Compare Notes Sources Description

Issues : GE revisions

b. 14

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

..

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. 15-19

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

No markings in Atut (→FE→EE,GE1→GE2)

​​​​​​​ in GE3
..

The ​​​​​​​ marks added in GE3 in bars 15 and 19 were drawn from the parts of violin I, violas and cellos in FEorch (→GEorch). However, application of that dynamics in the version for one piano is not confirmed in the authentic sources.

category imprint: Differences between sources

issues: GE revisions

b. 16

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

 in Atut

 in FE (→EE,GE1→GE2)

 in GE3
..

The dynamic mark is written in Atut between two chords, so that in the majority of the sources it was assigned to the 3rd beat of the bar. According to us, however, the texture clearly indicates that the new dynamics should be valid already from the 1st chord, which is confirmed by the indications in the orchestral parts. Therefore, the notation of Atut is an example of a manner of placing marks within the range of their validity, sometimes used by Chopin. Due to this reason, in the main text we give  on the 2nd beat of the bar. Such an interpretation was applied also in GE3. There is a similar situation in bar 20.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Centrally placed marks

b. 17

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

No marking in FE (→EE,GE1→GE2)

in GE3
..

​​​​​​​ is an arbitrary addition by the revisers of GE3, presumably after bar 13. Similarly in bar 502.

category imprint: Differences between sources

issues: GE revisions

b. 20-22

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

No marks in Atut (→FE→EE)

2 dots in GE

8 dots suggested by the editors
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We consider the missing staccato dots in the part of the L.H. to be an inaccuracy of notation. In this context, in the face of the dots over the chords in the R.H., the use of such an articulation does not raise doubts; moreover, staccato marks for the L.H. are present in all similar places – bars 16-17 (added in a proofreading of FE), 501-502 and 505-507. In GE, dots were added only in bar 20.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions