mUltimate Chopin

Op. 11, Concerto in E minor, Mvt II

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b. 13

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

e1 in solo part in FE (→GE,EE)

e1 in orchestra part, suggested by the editors
..

According to us, Chopin wanted the e1 note in the 1st quaver in the top voice to be printed in a smaller font as belonging to the orchestral part only (to avoid ambiguities in the main text, we move it to the upper stave).
The thesis is supported by the following arguments: 

  • it is natural that the shape of the accompaniment is clearly outlined from the 1st figure; beginning the line of the top voice from e1 delays and hinders the development of the characteristic, wavy motif;
  • the version without e1, which we adopted in the main text, is present in analogous bar 54;
  • where the solo part begins or ends, the engravers would impart wrong values to certain notes on a number of occasions, e.g. in the 1st mov., bar 486 and 671. 

category imprint: Interpretations within context; Editorial revisions

issues: Inaccuracies in FE

b. 14

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

Grace note b1 in FE (→EE) 

Grace note d2 in GE
..

The version of GE is most probably a result of a Terzverschreibung error, perhaps repeated after FE, in which it was then corrected – it could be proved by various print faults in FE around this place. Chopin would often use this kind of grace notes in the octave texture – cf. e.g. the Concerto in F minor, op. 21, the 1st mov., bars 149-150, the Etude in B minor, op. 25, no. 11, bar 47 or Allegro de Concert, op. 46, bar 103 and 146. 

category imprint: Differences between sources

issues: Errors in GE , Terzverschreibung error

b. 23

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

..

The traces of changes to print, visible in FE, prove that the grace note was initially printed – most probably by mistake – at the pitch of f1.

category imprint: Source & stylistic information

issues: Terzverschreibung error , Authentic corrections of FE

b. 29

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

Four-note chord in FE (→GE,EE)

Five-note chord in FEH
..

The variant included in FEH bears the hallmarks of authenticity. Leading the melody inside more extensive chords, often within the span of a ninth between the outermost sounds, belongs to Chopin's characteristic compositional and pianistic means (cf. e.g. the Ballade in G minor, op. 23, bar 114 and 174, the Prelude in F major, op. 28, no. 13, bars 30-32, the Sonata in B minor, op. 35, the 3rd mov., bars 19-20, the Prelude in C minor, op. 45, bar 79).

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 39

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

..

In the last third on the 3rd crotchet in the bar in FE (→GE1→GE2), there is no  restoring e2. The correct notation is featured in EE and GE3; the mark was also added in FES. In melodic lines led in thirds, such mistakes would happen to Chopin quite often – cf. e.g. bars 88 and 90 in this movement of the Concerto as well as the Etude in G minor, op. 25, no. 6, bar 12 or the Mazurka in E major, op. 6, no. 3, bars 11, 13 and analog. A similar situation in bar 41.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Omissions to cancel alteration , GE revisions , Annotations in FES , Errors repeated in GE