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Issues : FE revisions
b. 12
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composition: Op. 11, Concerto in E minor, Mvt I
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Both endings of the carelessly written slur in Atut fall between notes – we interpret them as "embracing," hence concerning only these notes that are actually under the slur. In the main text, however, we adopt the version of FE (→GE,EE), which is uncontroversial, as far as the musical and graphic issues are concerned, and which can also be considered an interpretation of the slur of Atut. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , FE revisions |
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b. 31-32
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut, the sharps are written only next to the top notes of the octaves, raising d to d category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , FE revisions , Inaccuracies in A |
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b. 36-38
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composition: Op. 11, Concerto in E minor, Mvt I
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In bars 36 and 38, Atut features only the sharps raising g to g category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 41-44
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut, there are no sharps next to the bottom notes of the octaves on the 2nd beat of bars 41 and 44. These patent inaccuracies were corrected in FE (→GE,EE). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , FE revisions , Inaccuracies in A |
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b. 56-59
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut, Chopin wrote these bars almost as if there were 3 sharps in the key signature (the A major key) – he overlooked the majority of the sharps raising c(1,2) to c category imprint: Interpretations within context; Differences between sources issues: Omission of current key accidentals , Errors of A , FE revisions |