mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

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b. 1

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

No marking in ATut

Metronome marking in FE (→GE,EE)
..

The missing metronome marking in Atut proves that Chopin added it in a proofreading of FE (→GE,EE).

category imprint: Differences between sources

issues: Metronome tempos , Authentic corrections of FE

b. 1

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

 in Atut, literal reading

 in Atut, possible interpretation

 in Atut (other interpretation→FE→GE,EE)
..

The manner the  mark is written in Atut makes it unclear whether the mark concerns the beginning of the piece or the beginning of bar 1, like it was interpreted in FE (→GE,EE). In the main text we adopt the second interpretation, since according to the most frequently applied rule, the marks are written in the place from which they are valid or slightly earlier. A dynamic mark after the bar line separating the upbeat can be found in Chopinesque autographs – cf. e.g. the Etude in A minor, op. 25, no. 4.

category imprint: Graphic ambiguousness; Differences between sources

issues: Centrally placed marks

b. 15-19

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

No markings in Atut (→FE→EE,GE1→GE2)

​​​​​​​ in GE3
..

The ​​​​​​​ marks added in GE3 in bars 15 and 19 were drawn from the parts of violin I, violas and cellos in FEorch (→GEorch). However, application of that dynamics in the version for one piano is not confirmed in the authentic sources.

category imprint: Differences between sources

issues: GE revisions

b. 16

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

 in Atut

 in FE (→EE,GE1→GE2)

 in GE3
..

The dynamic mark is written in Atut between two chords, so that in the majority of the sources it was assigned to the 3rd beat of the bar. According to us, however, the texture clearly indicates that the new dynamics should be valid already from the 1st chord, which is confirmed by the indications in the orchestral parts. Therefore, the notation of Atut is an example of a manner of placing marks within the range of their validity, sometimes used by Chopin. Due to this reason, in the main text we give  on the 2nd beat of the bar. Such an interpretation was applied also in GE3. There is a similar situation in bar 20.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Centrally placed marks

b. 17

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

No marking in FE (→EE,GE1→GE2)

in GE3
..

​​​​​​​ is an arbitrary addition by the revisers of GE3, presumably after bar 13. Similarly in bar 502.

category imprint: Differences between sources

issues: GE revisions