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b. 354
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composition: Op. 11, Concerto in E minor, Mvt I
..
In FE, one can see traces of removal of wedges over the 1st and 2nd crotchets in this bar. The engraver most probably mistook this bar for the next one. category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE |
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b. 355
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composition: Op. 11, Concerto in E minor, Mvt I
..
In the main text, we omit the sharps before the D category imprint: Differences between sources; Editorial revisions issues: GE revisions , Cautionary accidentals , Last key signature sign |
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b. 355
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composition: Op. 11, Concerto in E minor, Mvt I
..
The mark over the 3rd beat may be interpreted as an accent – long in FE (→GE) and short in EE – or a short diminuendo hairpin. However, the latter is highly unlikely from the practical point of view, since after the previous category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE inaccuracies |
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b. 356-359
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composition: Op. 11, Concerto in E minor, Mvt I
..
The rhythm of GE – quavers on the 3rd beat of each of these bars – is probably the original version, corrected by Chopin in FE (→EE). In the orchestral part, a corresponding correction must have been introduced still in the manuscripts, since in the parts of flutes, clarinet and bassoon, there are no indications of corrections of rhythm. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 356-393
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composition: Op. 11, Concerto in E minor, Mvt I category imprint: |
-d
, performing this motif 
could easily deprive it of clarity. Due to this reason, we assume that the marks represent accents. 
