mUltimate Chopin

Op. 11, Concerto in E minor, Mvt II

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b. 63

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

No rests in FE

3 rests in GE1 (→GE2)

2 rests in EE

4 rests in GE3

Rest suggested by the editors
..

Chopin generally does not write rests in the solo part where the reduction of the orchestral part complements the rhythm – cf. e.g. bar 12, 22, 38 and analog. However, in this case the rhythmic values of both parts do not clearly combine themselves – the g2 quaver opening a new phrase in the solo piano seems to be inserted between the 3rd and 4th beats of the bar. Due to this reason, in the main text we clarify the rhythm by adding a rest. In EE and GE, two rests were added, filling the bar in the R.H. in the solo part, which may be considered justified. In turn, the additions of GE on the lower stave rather confuse the picture, particularly in GE1 (→GE2). 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 63

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

m.g. written into FEH

No indication in FE (→GE,EE)
..

In FE, there are no rests in the original notation of this bar, as a result of which it is not entirely clear which hand is supposed to perform the orchestral part on the 2nd and 3rd beats of the bar. Therefore, in the main text we suggest the indication assigning these crotchets to the left hand, which may have come from Chopin.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 64

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

Fingering written into FEH

No teaching fingering
..

In this and in the next bar, the fingering digits in FES were written in pencil by Chopin and preserved in ink by Miss Stirling.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 64

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

Fingering written into FES

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 64

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

 on 2nd beat in FE (→EE,GE1→GE2)

 on first beat in GE3
..

Placing the  mark only next to the 2nd crotchet in the bar is probably an example of the Chopinesque manner of placing indications within, and not at the beginning of, their scope of validity. Nowadays, such notation is not used, hence in the main text we move the mark to the beginning of the bar, accordingly to the musical sense.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Centrally placed marks