|
b. 49
|
composition: Op. 11, Concerto in E minor, Mvt II
..
In FE (→GE1→GE2), there is no accidental before the 4th demisemiquaver before last. The missing category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Accidentals in different octaves , GE revisions , Cautionary accidentals , Omission of current key accidentals , Last key signature sign , Errors repeated in GE |
||||||||
|
b. 49
|
composition: Op. 11, Concerto in E minor, Mvt II
..
In FEH, the ending of this bar was provided with two diagonal crosses, with which Chopin would often mark places discussed during lessons, most probably problematic. Moreover, there is an ambiguous entry between a category imprint: Graphic ambiguousness; Differences between sources issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
||||||||
|
b. 50
|
composition: Op. 11, Concerto in E minor, Mvt II
..
In the main text, we suggest completing the pedalling after analogous bar 99. In this context, so typical of Chopin, omission of pedalling marks must be considered an inaccuracy. The pedalling was completed already in GE3. See also bar 52. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
||||||||
|
b. 50
|
composition: Op. 11, Concerto in E minor, Mvt II
..
The compliance between the fingering in FES and FEH contributes to the authenticity of the entry in the latter. Therefore, it allows for considering the fingering added in the next bar, continuing the discussed entry, to be authentic. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEH |
||||||||
|
b. 50
|
composition: Op. 11, Concerto in E minor, Mvt II
..
In GE1 (→GE2), the last tie of b2 is missing. It is a patent mistake, most probably an oversight. The mark was added in GE3. category imprint: Differences between sources issues: Errors in GE , GE revisions |
must be a mistake in this context, probably repeated after [A], since such inaccuracies in the notation of accidentals are typical of Chopin. The sharp was added in 
2 in the 3rd group of semiquavers. The sharp in the discussed place could have been added in 
in 
