mUltimate Chopin

Op. 11, Concerto in E minor, Mvt II

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Issues : Annotations in FED

b. 47

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

No marks in FE (→GE,EE)

Tenuto dashes in FED
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The tenuto dashes added in FED emphasise the split of the melody into 2 voices – cf. the notation of analogous bar 96. Chopin would use this mark only occasionally, e.g. in the Concerto in F minor, op. 21, the 2nd mov., bar 18.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 59

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

No extra notes in FE (→GE,EE)

3 notes in FED

4 notes in FEH, possible interpretation
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Interpretation of the draft notation in FED is hypothetical to a significant extent – it is only 3 note heads that are written on the ledger lines, without stems or beams. Therefore, it is unknown in which rhythm they should be performed; their pitch is also unclear, since only the middle one is a distinctly written c3 note. We present the most likely interpretation, based on the following premises:

  • the draft nature of the entry suggests an obvious, easy-to-remember figure, e.g. repeated notes;
  • if the person entering these notes wanted them to be performed still before the end of the passage in the L.H., he or she could have easily written them in the corresponding place (earlier). In turn, it was difficult to fit them still before c3 on the 5th beat of the bar, but already after the minim in the L.H. It supports the placement suggested by us;
  • a variant implementing most likely a similar idea, written with quavers, is to be found in FEH.

According to us, such a placement of repeated c3 notes – directly before the triplet that ends the bar – is not excluded also by the notation of FEH, which we suggest as an alternative interpretation of that source. Naturally, none of the variants described in this note can be linked with the literal reading of the entry in FEH which occurs in the 1st half of the bar. 

category imprint: Interpretations within context; Differences between sources

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

b. 67

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

Fingering written into FED

No teaching fingering
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category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 78

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

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There are no accidentals before the penultimate octave in FE (→GE). However, since in those editions (except for GE3) the first half of the bar is written using an octave sign, one can consider the sharps before the 1st octave in the bar to be valid. In GE3, the notation does not feature an octave sign (like in our transcriptions), hence the missing accidentals are a manifest error. In EE, sharps were added before this octave; they were added also in FED.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Accidentals in different octaves , Errors in GE

b. 94

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

Fingering written into FES

Fingering written into FED

No teaching fingering
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In the main text, we give the fingering written by Chopin in FES. The entry in FED most probably indicates the same fingering, specifying its most characteristic fragment.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES