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b. 18-19
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composition: Op. 11, Concerto in E minor, Mvt II
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Apart from the 1 digit over the last quaver in bar 18, the entry in FEH includes one more mark, which is difficult to interpret, since it may be a sharp or a slur. According to us, its placement suggests that it was supposed to combine that quaver with the minim in bar 19, which would practically indicate the same fingering as in the two remaining pupils' copies. See the adjacent note on the slur. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Annotations in FES , Annotations in FEH |
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b. 18-19
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composition: Op. 11, Concerto in E minor, Mvt II
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We interpret the quite ambiguous mark written in FED at the end of bar 18 as a slur. The necessity to combine the last quaver in bar 18 with the following minim is clearly indicated by the Chopinesque fingering and probably also by the mark written in FEH. category imprint: Graphic ambiguousness; Differences between sources issues: Annotations in teaching copies , Annotations in FED , Annotations in FEH |
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b. 18
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composition: Op. 11, Concerto in E minor, Mvt II
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The slur of the majority of the editions, even if it renders the notation of [A] accurately, is probably inaccurate – embracing the entire passage in the L.H. with a slur seems to be much more natural. Due to that reason, we suggest a longer slur in the main text; an identical change was introduced in GE3. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 19-20
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composition: Op. 11, Concerto in E minor, Mvt II
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As has already been indicated in bar 17, we consider the missing slurs to be Chopin's oversight. The need for and the range of the slur in the 2nd half of bar 19 seem to be obvious (cf. identical figures in bar 16 and 21); they were added already in EE and GE3. In turn, one could imagine the first two quavers in bar 20 being performed with another articulation – see e.g. similar bar 61; however, the slur encompassing the last 6 quavers in bar 20 rather excludes such a varied articulation. The missing pedal mark on the 1st beat in bar 20 may also be considered an argument for performing the bass note legato. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 20
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Differences between sources |
