mUltimate Chopin

Op. 11, Concerto in E minor, Mvt II

Text Compare Notes Sources Description

Issues : Annotations in teaching copies

b. 47

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

No marks in FE (→GE,EE)

Tenuto dashes in FED
..

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. 47

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

..

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

Fingering written into FES

No fingering in FE (→GE)

Fingering in EE
..

Chopin's poorly legible entry in FES most probably indicates the use of the 4th finger on d2. The digits added by Fontana in EE mark the same fingering.

category imprint: Differences between sources

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

b. 49

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

14 notes in FE (→GE,EE)

Possible 16-note variant in FEH
..

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

b. 50

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

Fingering written into FES & FEH

No teaching fingering
..

The compliance between the fingering in FES and FEH contributes to the authenticity of the entry in the latter. Therefore, it allows for considering the fingering added in the next bar, continuing the discussed entry, to be authentic.

category imprint: Differences between sources

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