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b. 23

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

In FE, the part of the L.H. is misaligned with the R.H. in the 2nd half of the bar – the last quaver, f, falls already under the dotted quaver c³. The inaccuracy was corrected in GE and EE, whereas the mark indicating the right synchronization is written in FEH.

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category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , GE revisions , Synchronization markings , Annotations in FEH

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b. 50

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

In GE1 (→GE2), the last tie of b²is missing. It is a patent mistake, most probably an oversight. The mark was added in GE3.

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issues: Errors in GE , GE revisions

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b. 53

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

in FE

in GE

in EE

The differences in the notation of the f¹crotchet at the beginning of the 2nd half of the bar is probably a result of a mistake of the engraver of FE and revisions of the remaining editors. The dotted crotchet in the versions of FE and GE – regardless of the notation manner – implies a momentaneous split of the most bottom of the three upper voices, which, until that moment, was consistently led from the beginning of that phrase in bar 52. Due to this reason, we consider the crotchet in EE to be the most probably correct, where the natural sequence of the three upper voices, corresponding to Violin I, Violin II and Viola, is maintained.

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b. 53

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

Rhythm in FE, literal reading

FE (probable interpretation→GE,EE)

Possible interpretation of FE

Combination of FEfort & FEorch

The literally reproduced notation of FE must be considered inaccurate if the rhythmic values in the 2nd half of the bar are correct (we omit the issue of the f¹crotchet on the 3rd beat of the bar, discussed separately, which is irrelevant in this place). Due to this reason, in the main text we move the b¹quaver before the final semiquaver of the piano reduction; both GE and EE changed the notation in the same way. On the other hand, one can imagine a situation in which it is the layout of the text that reflects the intended relationship between the solo part and the accompaniment, i.e. a simultaneous performance of the last note in the bar in all parts, and it is the rhythm in the upper voice that is incorrect. It leads to the version suggested as an alternative interpretation of the notation of FE.
Considering the solo part with the FEorch orchestral part, hence while performing the Concerto with orchestra, the aforementioned simultaneity relationship also occurs, since in the parts of string instruments – violins and cellos – the note ending the bar is a quaver: . It leads to the last of the suggested versions in which the correct elements of the notation of FE are a quaver in the solo part and alignment of the notes, whereas the dotted rhythm in the two bottom voices is incorrect.