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Issues : Authentic post-publication changes and variants
b. 153
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composition: Op. 11, Concerto in E minor, Mvt I
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Both variants were given in the edition edited by Chopin's pupil, Karol Mikuli (Kistner, Leipzig 1879). Mikuli did not specify their origin, but defining the variant with the group of 6 semiquavers as "performance after Chopin" suggests memories and notes from the time of personal contacts between the editor and composer. It is also known that Mikuli had some insight into currently lost pupils' copies of Chopin's other pupils, e.g. Fryderyka Streicher-Müller (cf. the Sonata in B category imprint: Differences between sources issues: Annotations in teaching copies , Authentic post-publication changes and variants |
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b. 162
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composition: Op. 11, Concerto in E minor, Mvt I
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The differences in the number and pitch of the notes following the first b1 are discussed in the previous note, together with rhythmic differences. category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , EE revisions , Annotations in FED , Authentic post-publication changes and variants |
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b. 197
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composition: Op. 11, Concerto in E minor, Mvt I
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The unbroken – in spite of the rest – slur of FE (→EE,GE1→GE2) must be a remaining part of the original version of the rhythm (with semiquavers without rest). The need to separate the first two notes from the following semiquavers was confirmed by Chopin with additional marks written in pencil in FED – a slashed line, underlining the significance of the rest (also in bar 201), as well as a slur over the first two semiquavers. Taking that into account, in the main text, we divide the slur, adjusting the phrasing to the rhythmic notation. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Annotations in FED , GE revisions , Authentic post-publication changes and variants , Inserted rest |
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b. 315-316
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we include the slurs added in FED, running from the 2nd semiquaver to the octave on the 2nd beat of the bar. According to us, it specifies the notation and harmonises with the printed notation – cf. the slurs in the L.H. in these bars and the slur in the R.H. in bar 317. category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants |
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b. 401
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composition: Op. 11, Concerto in E minor, Mvt I
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The mark in the form of a diagonal cross written in FEH before the 1st grace note of the bar is probably a category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |