Rhythm
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b. 58
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composition: Op. 11, Concerto in E minor, Mvt II
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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 (g category imprint: Differences between sources; Editorial revisions issues: EE inaccuracies |
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b. 59
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composition: Op. 11, Concerto in E minor, Mvt II
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The meaning of the curved line between the c The passage filling 5 quavers was added in FES on the margin, next to the line containing bars 59-62, without indicating the place it should be inserted in the printed text. According to us, there are two such places – the 1st half of bar 59 (as an A major passage) or 5 last quavers in bar 61 (as an A minor passage). The latter seems to be more likely due to a similar nature of the passage written in this bar in FEH, hence we adopt the variant placed in bar 61 as the text of FES. The literal interpretation of the variant of FEH excludes a simultaneous application of the interpretation of the passage of FES discussed above. Another interpretation of the entry in FEH – see the note in the further part of this bar. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants , Annotations in FEH |
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b. 63
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composition: Op. 11, Concerto in E minor, Mvt II
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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 g category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 72-73
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composition: Op. 11, Concerto in E minor, Mvt II
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The absence of the dots increasing the duration of the bass notes most probably results from an inaccurately implemented proofreading of FE, for in this edition, there are visible traces of correcting in print the first notes in the bar from the following notation: category imprint: Interpretations within context; Source & stylistic information issues: Inaccuracies in FE , Errors resulting from corrections , Authentic corrections of FE |
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b. 73
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composition: Op. 11, Concerto in E minor, Mvt II
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According to us, the absence of the tie of the d category imprint: Differences between sources; Editorial revisions issues: Errors in FE , GE revisions |
1). In 
(with dots increasing the duration of notes). The unintentional character of the omission of the dots is proved by bar 75 in which a strictly analogous figure was printed already in the final layout and with a dotted minim. 
