mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

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Rhythm

b. 25-30

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

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We give the dotted rhythms on the last beats of bars 25, 29 and 30 after Atut (→FE→GE,EE). In the orchestral part, there are pairs of quavers in violin I. 

category imprint: Source & stylistic information

b. 27-28

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

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category imprint: Source & stylistic information

issues: Uncertain notes on ledger lines

b. 33

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

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In FE, the dots prolonging the F-f crotchet were overlooked. The mistake was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions

b. 61

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

e1 in both parts in Atut

e1 in upper part in FE (→GE,EE)
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Chopin would gradually shape the notation of the R.H. part in the first half of this bar. Initially, he tried to write down the "harmonic legato" – holding the elements of the chord constituting the figuration with fingers – through rhythmic values:  or . It was still in Atut that the notation was simplified and the notes that were supposed to be held were marked with the legato indication. In the proofreading of FE (→GE,EE), the composer introduced the maximally transparent, two-part notation and changed legato to legatiss.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Authentic corrections of FE

b. 65-74

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

b1 repeated in Atut (→FE→GE)

b1 tied in EE
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Nothing indicates that the ties sustaining the b1 crotchets in bars 65-66 and 73-74 could have come from Chopin. Theoretically, they could have been added by Fontana, who could perhaps recall Chopin's performances; this possibility allows for qualifying this version as, at most, a variant of questionable authenticity. If the composer wanted to sustain these notes, it would be difficult to explain why he did not mark it while writing Atut, proofreading FE (at least twice) or listening to pupils' performances.
The reviser of EE could have remained under the influence of the tie in bars 234-235; however, in that case the theme's melody is developed in a variational manner to a significant extent, so that moving such a detail from one version to another is out of the question (cf. the explicit repetition of the note in bars 226-227).     

category imprint: Differences between sources

issues: EE revisions