Pitch
b. 13
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composition: Op. 11, Concerto in E minor, Mvt II
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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).
category imprint: Interpretations within context; Editorial revisions issues: Inaccuracies in FE |
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b. 14
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composition: Op. 11, Concerto in E minor, Mvt II
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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 |
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b. 23
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composition: Op. 11, Concerto in E minor, Mvt II
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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 |
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b. 29
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composition: Op. 11, Concerto in E minor, Mvt II
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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 |
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b. 39
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composition: Op. 11, Concerto in E minor, Mvt II
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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 |