mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

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b. 316-317

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

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In FE, both the  raising a2 to a2 in bar 316 and the  raising c3 to c3 in bar 317 are missing. These patent inaccuracies, most probably repeated after [A], were corrected both in GE and EE. The latter was added also in FED.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Accidentals in different octaves , Inaccuracies in FE , GE revisions

b. 317

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

d4 in FE (→EE)

b3 in GE
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The version of GE is most probably a mistake, although, just like in the case of the majority of Terzverschreibung errors, it is possible to accept the sound result. Admittedly, the bar does not repeat the previous harmonic scheme, yet the melodic analogy remains clear, and changing the final interval would distort, for no apparent reason, the octave line implemented from bar 315: . 

category imprint: Differences between sources

issues: Errors in GE , Terzverschreibung error

b. 317

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

Fingering written into FED

Fingering written into FEFo

Fingering written into FEH

No fingering in FE (→GE)

Fontana's fingering in EE
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The 1st finger written in FED determines a different hand position than the fingering in FEFo (and also FEH and EE). The authenticity of both fingerings seems probable, however, to the main text we choose the latter which adheres to the pattern indicated in the preceding bars. Such a consistency supports additionally the authenticity of this fingering, all the more since we cannot completely exclude a possible mistake in FED.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Differences in fingering , Annotations in FEH , Annotations in FEFo

b. 318

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

No accidental (d3)  in FE (→EE,GE1→GE2)

 (d3) in GE3

 (d3), our alternative suggestion
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There is no accidental before the penultimate semiquaver in the majority of the sources. When interpreted literally, it is a d3 due to the  before the 2nd semiquaver. This version, inconsistent notation (e2-d3) aside, implements the harmonic scheme of such figures in bars 315-318, using chord elements only, and we give it as such in the main text, adding a reminding  before the discussed note. However, one cannot exclude an oversight of the alteration's cancellation by Chopin, which is one of his most frequent mistakes. The version with d3, resulting from such an assumed mistake, continues the melodic and pianistic scheme defined in the two previous figures, which we suggest as an acceptable variant. 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Omissions to cancel alteration , GE revisions

b. 318

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

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The sources feature a cautionary  before c2 and a reminding one before a1 in the 3rd chord. In the main text, we omit both marks, which are, according to us, unnecessary. In turn, we add a cautionary  before e2. 

category imprint: Editorial revisions

issues: Cautionary accidentals