mUltimate Chopin

Op. 11, Concerto in E minor, Mvt II

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b. 1

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

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On the 4th crotchet in the bar, there are equal quavers in MFrorch. It may be the original version, changed by Chopin in FE, or a mistake.

category imprint: Source & stylistic information

issues: Dotted or even rhythm

b. 3

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

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The d1 and c1 notes on the 2nd beat of the bar are written as quavers in the violas' part. It is the first of a few rhythmic discrepancies of this kind between the orchestral part and the corresponding Chopinesque piano reduction constituting a part of FE – cf. bars 12 and 53. It does not seem that all of them could be attributed to mistakes; there are also no proofs suggesting that Chopin could have been striving for a unified rhythm in those places. Therefore, it suggests that the orchestral parts and the piano reduction were considered independently, to a certain extent, and in a quite surprising aspect.  

category imprint: Source & stylistic information

issues: Dotted or even rhythm

b. 3

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

f1 tied in FE (→EE)

f1 repeated in GE
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In FE, the f1 tie is printed slightly inaccurately, so that in GE1 (→GE2) it was misinterpreted as a slur for the bottom voice in the R.H. (in GE3, the mark was omitted).

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Errors in GE

b. 9

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

g repeated in FE (→GE)

g  tied in EE
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There is no indication that the tie of EE could be authentic. It is also difficult to say what the motivation to add this tie was – b is not tied in analogous bar 4.  

category imprint: Differences between sources

issues: EE revisions

b. 12

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

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In the French horns' part, both dyads on the 4th beat of the bar are quavers.

category imprint: Source & stylistic information

issues: Dotted or even rhythm