Issues : EE revisions
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b. 50-51
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composition: Op. 11, Concerto in E minor, Mvt I
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The shorter slur in Atut (→FE→GE1→GE2) is the original marking. Initially, both slurs in the previous figure also encompassed the groups of three quavers only; however, they were then prolonged by Chopin. The slur in the L.H. in the discussed bars, written last, already encompasses the entire four-note motif. The fact of leaving the slur in the R.H. without extension must be the composer's inadvertence. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Corrections in A , GE revisions , Omitted correction of an analogous place |
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b. 60-61
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composition: Op. 11, Concerto in E minor, Mvt I
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The slur in Atut reaches the E1-E octave and it was extended to that end. However, after having written the 1st half of bar 61, Chopin deleted the octave to change the manner of notation of the R.H. part. The discussed slur was not crossed, but in rewritten bar 61, the ending of the slur was not repeated, which explains its shorter range in the editions. A separate slur for the top notes of the octaves added in EE must be an editorial revision. category imprint: Differences between sources issues: EE revisions , Corrections in A , Errors resulting from corrections |
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b. 61-62
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composition: Op. 11, Concerto in E minor, Mvt I
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It is difficult to say what the reason for a later beginning of the slur in EE was. In turn, an earlier beginning in GE may be related to an inaccurately placed slur in FE, slightly too early, and to a comparison with analogous bar 69. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE |
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b. 65-74
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composition: Op. 11, Concerto in E minor, Mvt I
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Nothing indicates that the ties sustaining the b1 crotchets in bars 65-66 and 73-74 could have come from Chopin. Theoretically, they could have been added by Fontana, who could perhaps recall Chopin's performances; this possibility allows for qualifying this version as, at most, a variant of questionable authenticity. If the composer wanted to sustain these notes, it would be difficult to explain why he did not mark it while writing Atut, proofreading FE (at least twice) or listening to pupils' performances. category imprint: Differences between sources issues: EE revisions |
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b. 68-72
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut (→FE), the minims in bars 68 and 72 are devoid of extending dots, which, in both cases, must be considered a mistake. Dots were added in GE and EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Rhythmic errors , Errors of A |
