Issues : Authentic corrections of FE
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b. 261-264
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composition: Op. 11, Concerto in E minor, Mvt I
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The absence of the bottom slurs in GE most probably means that they were added by Chopin in the last proofreading of FE (→EE). category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 267-271
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composition: Op. 11, Concerto in E minor, Mvt I
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The original, then corrected, most probably by Chopin, notation of the first note in bar 267 and following: category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE |
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b. 272
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composition: Op. 11, Concerto in E minor, Mvt I
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In GE1 (→GE2), there is no category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , Authentic corrections of FE , Errors repeated in GE |
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b. 291-294
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composition: Op. 11, Concerto in E minor, Mvt I
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The traces of corrections visible in FE prove the Chopinesque proofreading of slurring. The removed slurs were shorter and, as it seems, incomplete – they encompassed, consecutively, 2 beats of bar 291, entire bar 292 and 2 beats of bar 293. Over the last beat of bar 293, there was the beginning of the slur continued in bar 294 (on a new line). It is difficult to evaluate whether these were corrections of mistakes and inaccuracies of the engraver or changes to the authentic, original slurring (perhaps both). There is a similar situation in bars 307-308. category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE |
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b. 298
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composition: Op. 11, Concerto in E minor, Mvt I
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The traces of proofreading in print, visible in FE, allow us to state that the penultimate semiquaver was initially a b1. It was most probably the original version, since it seems to be highly unlikely that the note could have been printed by mistake. category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE |
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before the second quaver. It must be a mistake – between two bars based on the same four-note diminished chord containing g, a possible g
would require a cautionary 
, not to mention the tied g in violin II. It was most probably [A] that was the source of the mistake, since the