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Op. 11, Concerto in E minor, Mvt II

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b. 58-59

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

Run to c3 in FE (→GE,EE)

Run to c4 in FEH
..

The notation of the variant written in FEH extending the roulade, so that it ends at the beginning of bar 59 with the c4 minim, does not define the number or the pitch of the notes in the extension of the roulade. We interpret it as a signal that one should use the model from its printed part. This kind of extensions of figurations can be found in a number of other Chopin's pieces – cf. e.g. the Waltz in A major, op. 42, bars 243-244. According to us, it practically guarantees the authenticity of this entry.

category imprint: Differences between sources

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH

b. 58

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

Fingering written into FES

No teaching fingering

Fingering from FES in FEH variant
..

The Chopinesque fingering written in FES – the 1st finger on b1 – may be, according to us, used also to perform the extended version of the roulade written in FEH. When choosing this version, one has to use the third of the given variants due to a different layout of the text. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 58

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

..

In GE and EE, a cautionary  was added before f3, which we adopt in the main text.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 58

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

..

In FE (→GE), the last quaver in the L.H. (e) was placed under b1 in the R.H., which does not correspond to the rhythmic relationship resulting from the even filling of the last three semiquavers in the bar with small notes in the R.H. It may correspond to the notation of [A], but neither the first publishers of Chopin's pieces nor the composer himself were always precise in this matter. Due to this reason, in the main text we place that e according to the rhythmic division, just before the 7th note of the roulade (g1). In EE, the quaver was placed even later than in FE (after c2), which must be an arbitrary decision of the editor (we reproduce this notation in graphic transcription only).
The performance should be based rather on intuition than on the geometry of the notation or strict calculations of rhythmic proportions, since both the context and the very notation suggest a sense of rhythmic freedom in this place.

category imprint: Differences between sources; Editorial revisions

issues: EE inaccuracies

b. 58

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

No slurs in FE (→GE1→GE2)

2 slurs in EE

Slur in GE3

Slur suggested by the editors
..

Like in analogous bar 17, in the main text we suggest a whole-bar slur in the part of the L.H. Such a slur was added in GE3, whereas in EE, each half of the bar was embraced with a separate slur, perhaps due to the lack of space. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions