Atut - Autograph of first Tutti
Autograph of the fragment comprising a piano reduction of bars 1-138.
FE - French edition
Maurice Schlesinger, Paris, plate number M.S.1409:
FE1 – First French edition, June 1833,
Five pupil's copies with annotations originating from Chopin:
FED – Camille O'Méara-Dubois copy,
FEFo – Adèle Forest copy,
FEH – Caroline Hartmann copy,
FEJ – Ludwika Jędrzejewicz copy,
FES – Jane Stirling copy.
GE - German edition
Filiation of the sources
Principles behind the main text of
the Concerto in E minor, Op. 11, Mvt I
We take FE as a basis, since it is the only undoubtedly authentic source. We take into account the Chopinesque annotations in FED, FEFo, FES as well as the annotations in FEH whose graphological features and substance likely point to Chopin's hand (the limitation applies particularly to fingering). We also cite two variants found in the edition of the Concerto prepared by Chopin's pupil, Karol Mikuli (Kistner, Leipzig 1879).
We order inconsistent slurring and other articulation markings on the basis of patent analogies and knowledge about Chopin's habits, which is documented by sources in other compositions, and typical distortions of first editions in this respect. In order not to overload the text, we do not use brackets in patent situations. We leave source versions wherever a differentiation may correspond to Chopin's intentions.
In several places the graphic form and manner of performing individual grace-notes give rise to doubts. A comparison of their script in autographs from this period in Chopin’s oeuvre proves that forms other than crossed quavers were applied only exceptionally. All problematic places are discussed in commentaries to appropriate bars.
We seek to preserve the differentiation between long and short accents, so typical of Chopin. The missing autograph and visible inaccuracies of first editions do not always allow for a precise reproduction of the composer's intention (this applies also to assigning accents to the right or left hand).