mUltimate Chopin

Op. 11, Concerto in E minor, Mvt I

Text Compare Notes Sources Description

Issues : Inaccuracies in A

b. 4

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

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In Atut, there is no  raising the bottom note of the L.H. on the 3rd beat of the bar. This patent inaccuracy was corrected in FE (→GE,EE). There is a similar situation in bar 12.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Authentic corrections of FE , Inaccuracies in A

b. 12

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

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In the part of the L.H. in Atut, a  is present only next to d in the 1st octave. In FE, a  was added next to the bottom note of this octave, while in the remaining editions, it was added also next to d1.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Authentic corrections of FE , Inaccuracies in A

b. 25-27

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

Wedges in bars 26-27 in Atut, literal reading

Dots in bars 26-27 in Atut, contextual interpretation

Wedges in bars 25-27 in FE (→GE,EE)

No marks, interpretation of Atut suggested by the editors
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According to us, the wedges with which the accompanying chords in the L.H. were provided in FE (→GE,EE) are a result of misunderstanding the notation of Atut in bars 26-27, where the repeated chords are written in an abbreviated manner as minims with quaver tremolos. Willing to draw the attention to this abbreviation, Chopin marked the individual quavers with dashes, which he then tried to transform into dots, generally used for this purpose. This measure turned out ineffective, whereas the engraver (reviser?) not only included the wedges, in spite of renouncing the abbreviation, but he also propagated wedges in bar 25. However, since the wedges do not mark articulation, they are superfluous and misleading in a notation that does not make use of abbreviations. Taking into account the above considerations, we do not include them in the main text. 

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Errors in FE , Corrections in A , Wedges , Inaccuracies in A

b. 31-32

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. This patent inaccuracy was corrected already in FE (→GE,EE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , FE revisions , Inaccuracies in A

b. 36-38

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. This patent inaccuracy was corrected in FE only in bar 36. In GE and EE, sharps were added also in bar 38.

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