mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

Text Compare Notes Sources Description

Issues : Accidentals in different octaves

b. 391

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

..

In FE, there is no  before f2, which was a frequently used procedure in this layout – it was the mark placed earlier before a note sounding an octave higher, but written at the same pitch that was considered to be valid. The remaining editions added a .

category imprint: Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions

b. 405-407

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

..

In bar 405 and 407, there are no naturals lowering f to f in FE. These patent inaccuracies were corrected both in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions

b. 408

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

..

In FE, there is no  lowering f​​​​​​​​​​​​​​ to f. The patent inaccuracy of the Chopinesque notation was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions

b. 416-423

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

..

In FE, there are no sharps before the second semiquaver, placed an octave lower than the first one, of the majority of the figures in the L.H. – marks are necessary in 10 out of 15 figures, whereas an appropriate  is present only before c​​​​​​​1 in bar 418. All the remaining marks were added both in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Accidentals in different octaves , GE revisions

b. 424

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

..

In the sources, there are no sharps before the d2 and d​​​​​​​3 semiquavers. It results from a different rule of validity of accidentals from the one applied generally in contemporary editions where a part of a bar is written with the use of an octave sign. In Chopin's times, a mark next to a note encompassed with an octave sign was often considered valid also for a note written at the same pitch, yet not encompassed with an octave sign.

category imprint: Interpretations within context; Editorial revisions

issues: Accidentals in different octaves , Inaccuracies in FE , Errors repeated in GE , Errors repeated in EE