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b. 54

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

2 slurs in FE (→EE,GE1GE2)

3 slurs in GE3

..

Change of slurring in GE3 is a typical example of a routine revision – a separate slur for the 2nd beat of the bar resembles rather bowing than a pianistic gesture.

category imprint: Differences between sources

issues: GE revisions

b. 55

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

Two e2 together in FE (→EE)

Each e2 separate in GE

..

In the main text, we give the notation of FE (→EE), intuitively comprehensible and used by Chopin on a number of occasions, e.g. in the 1st mov. of the Concerto, bars 404-406. The version of GE must be erroneous – such a notation is rhythmically unclear and suggests a double performance of the enote. Moreover, like in many other places, GE overlooked the wavy line emphasising the continuity of the trill.

category imprint: Differences between sources

issues: Errors in GE

b. 55

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

 in FE (→EE)

No sign in GE

..

The missing  in GE may be explained by an oversight of the engraver of GE or, alternatively, by the fact of adding the mark in the last phase of proofreading of FE.

category imprint: Differences between sources

issues: Errors in GE

b. 55

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

Fingering written into FEH

No teaching fingering

..

The fingering of FEH in this bar, as well as in bar 58 and 59, may be authentic – the handwriting resembles the Chopinesque one, whereas the hand positions resulting from the finger configuration are natural. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 56

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

g2 repeated in FE (→EE,GE1GE2)

g2 tied in FES & GE3

..

The tie of gadded in FES proves that its absence in FE (→EE,GE1GE2) is most probably an oversight.

category imprint: Differences between sources

issues: Annotations in teaching copies , GE revisions , Annotations in FES