mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

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Ornaments

b. 390

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

 in FE

 in GE & EE

 with  suggested by the editors
..

In the sources, there is no  under the turn mark; however, the 'post' visible within the mark of FE –  – was used to mark that the bottom note of the turn is to be raised (see, e.g. the Nocturne in B major, op. 62 no. 1, bar 21, in which Chopin marked a turn with the  mark in one of the autographs, whereas in another one, he wrote it with small notes, the bottom of which is raised). It is also noteworthy that the mark in FE is reversed, which may suggest an unnatural order of the interchanged notes in this context (first the bottom, then the top one). Such a notation, probably accidental, was not repeated both in GE and EE. In the main text, we give the generally adopted notation corresponding to the most likely performance of the turn.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 404

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

Notation in FE (→EE)

Notation in GE
..

The notation of GE, in which the crotchet of the bottom voice was separated from the grace note that opens the trill, must be inauthentic and unclear – the fact that the notes written next to each other actually constitute one key strike is not obvious at all. The notation used in FE (→EE) is to be found in a number of Chopin's pieces, e.g. in the 2nd mov. of the Concerto, bar 55, as well as in the Concerto in F minor, op. 21, the 1st mov., bar 97, the Fantasy in A major, op. 13, bar 40 or Allegro de Concert, op. 46, bar 53 and analog.  

category imprint: Differences between sources

issues: GE revisions

b. 520

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

..

In FED, there is a diagonal line written in pencil under the entire passage (from d​​​​​​​1 to a2). Chopin would use more or less diagonal lines to, e.g. mark synchronisation of ornaments (cf. bar 403); however, in this case it does not indicate a specific note both in the left and right hand. Moreover, it does not seem to be a mark emphasising the meaning of the rest, like it is in bar . Therefore, it might have been a mark accompanying a verbal indication concerning smooth performance of the passage. 

category imprint: Source & stylistic information

issues: Annotations in teaching copies , Annotations in FED

b. 523

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

5 quavers in FE (→EE)

4 semiquavers in GE
..

Like in bar 168, it is not entirely clear whether the change of the manner of writing down the grupetto was an arbitrary decision of GE or the original version, corrected then in FE. In the discussed bar, FE bears visible traces of changes performed in print (they are absent in bar 168); however, it seems that they concerned reduction of the number of small notes between the d2 crotchet and the f2 quaver from five to four and not their beam. Therefore, the accuracy of the above observations would support the first possibility, i.e. an arbitrary change introduced in GE. 

category imprint: Differences between sources

issues: GE revisions

b. 550

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

No marking in FE (→GE,EE1→EE2)

Arpeggio sign in EE3

Arpeggio sign suggested by the editors
..

In the main text, we add an arpeggio in bar 550 after bar 195. The indication was added also in EE3.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions