mUltimate Chopin

Op. 11, Concerto in E minor, Mvt II

Text Compare Notes Sources Description

Issues : Annotations in FEH

b. 43

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

c2 in FE (→GE,EE)

c2 in FEH, contextual interpretation
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None of the first editions includes a  raising c2 to c2 in the 4th third or a  restoring c2 on the last quaver in the 2nd triplet. It is most likely another – cf. bar 39 and 41 – oversight of Chopin, although definitely more serious and more difficult to explain. The phrase (bars 43-46) develops the two preceding ones (two-bar ones); there is no reason for the melodic shape of the discussed place, clearly referring to the beginnings of bars 39 and 41, presenting the same idea, to differ from them. This statement is confirmed by analogous phrases in bars 88, 90 and 92. A similar oversight of an alteration of a note and its later cancellation happened to Chopin in the Etude in F minor, op. 25, no. 2, bar 56. In FEH, a  before the 4th third was added probably by Chopin himself or under his suggestion. Taking into consideration the above arguments, we introduce this correction to the main text.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 46

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

No fingering in FE (→GE)

Fingering in EE

Fingering written into FEH
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Fontana's fingering added in EE is the most natural continuation of the Chopinesque entry written in FES – see the previous note. An identical fingering is written in FEH, perhaps based on a Chopinesque remark.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FEH

b. 47-48

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

Fingering written into FES

Fingering written into FEH

No teaching fingering
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category imprint: Differences between sources

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

b. 47

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

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In the main text, we add a cautionary  before e3. The mark was added both in GE and EE; it was also written in FEH (the mark's shape is not typical of Chopin's handwriting).

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , GE revisions , Cautionary accidentals , Annotations in FEH

b. 49

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

14 notes in FE (→GE,EE)

Possible 16-note variant in FEH
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In FEH, the ending of this bar was provided with two diagonal crosses, with which Chopin would often mark places discussed during lessons, most probably problematic. Moreover, there is an ambiguous entry between a1 and d2; it can be interpreted as an inaccurately placed  referring to a1 (see the adjacent note) or two additional notes, constituting an extended, variant version of the final ornamental figure together with the remaining demisemiquavers.

category imprint: Graphic ambiguousness; Differences between sources

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