mUltimate Chopin

Op. 11, Concerto in E minor, Mvt II

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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

b. 69

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

cresc. in FE (→EE)

No indication in GE
..

The absence of both dynamic markings – see the previous note – suggests an oversight of the engraver of GE; however, it cannot be excluded that Chopin added them in the last phase of proofreading of FE (→EE).

category imprint: Differences between sources

issues: Errors in GE

b. 100

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

Dashes in FE (→EE)

Dashes in GE

Dashes suggested by the editors
..

Leading the dashes marking the range of smorz. only to the 2nd beat of the bar must be considered an inaccuracy – the indication is almost certainly to be valid until rallent. – just like in GE – or until the end of the bar, which we suggest in the main text.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 104-105

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

a tempo in bar 105 in FE (→EE)

Tempo 1o in bar 104 in GE
..

The return to tempo is marked in FE (→EE) only in the solo part, in bar 105. Tempo 1o introduced a bar earlier in GE is most probably an editorial revision – cf. a similar situation in bar 52.

category imprint: Differences between sources

issues: GE revisions