Rhythm
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b. 238-239
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composition: Op. 11, Concerto in E minor, Mvt I
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The absence of the tie to B is most probably an oversight of the engraver of GE, cf. the slurs in analogous bars 242-243 and 589-590 and 593-594. category imprint: Differences between sources issues: Errors in GE |
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b. 253
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE (→GE,EE), there is no digit determining the rhythmic shape of the group of 7 quavers. The alignment of notes with respect to the L.H. adopted in FE (→GE1→GE2) suggests the following grouping: category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , GE revisions |
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b. 255
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we include the characteristic Chopinesque indication, requiring the grace note to be performed simultaneously with the corresponding note in the L.H.
See the Nocturne in D category imprint: Differences between sources |
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b. 300
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composition: Op. 11, Concerto in E minor, Mvt I
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In GE1, the quaver flag next to the first chord (after the grace note) was overlooked. This patent mistake was corrected already in GE2 (→GE3). category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions , Rhythmic errors |
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b. 303
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE (→GE1→GE2) and EE, the notation of the first two semiquavers is probably erroneous. Although the traces of corrections in print point to a proofreading of this place, it seems, however, that it was a more serious mistake that was corrected, concerning beams, whereas the result may be a compromise between Chopin's intention and the engraver's convenience. Due to this reason, in the main text we repeat the undeniable notation of analogous bar 287. An identical revision was introduced in GE3. In this context, the reversed beams in EE, apparently without influence on the musical sense, may suggest a different arrangement of voices than the notation of FE. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
, which combines well with the stretto indication, written in the 2nd half of the bar. Due to this reason, we preserve this notation in the main text. However, 
septuplet, may be considered a fully-fledged variant. Practically, the written down rhythm serves as inspiration only; its performance should be uninhibited, smooth and emotionally suggestive. 
major, op. 27, no. 2, 
