Issues : Authentic corrections of FE
b. 16
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composition: Op. 11, Concerto in E minor, Mvt II
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The arpeggio added in EE is most probably an arbitrary addition, which is proved by the Chopinesque proofreading of FE:
A tenth chord, also without arpeggio and with the minor third on the black keys performed simultaneously with the 1st finger, marked by Chopin with a curly bracket, is featured in the Prelude in A major, op. 28, no. 7. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 16
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composition: Op. 11, Concerto in E minor, Mvt II
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According to us, the 1st finger given in FE next to the d1 note indicates a simultaneous performance of the d1-f1 third with that finger. The same is suggested by the fingering added by Fontana in EE. No fingering in GE may indicate that Chopin added the digit in FE in the last phase of proofreading. There is a similar situation in analogous bar 57. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Authentic corrections of FE |
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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. 37
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composition: Op. 11, Concerto in E minor, Mvt II
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In FE, there are visible traces of a correction performed to the slur that originally did not encompass the last two semiquaver triplets. category imprint: Source & stylistic information issues: Authentic corrections of FE |
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b. 44
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composition: Op. 11, Concerto in E minor, Mvt II
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The missing b1 note on the last quaver in GE may be an oversight. According to us, however, it is more likely that Chopin added this note in the last proofreading of FE. It is indicated by visible traces of changes in FE, i.e. an inaccurate alignment of the upper section of the stem, reaching this note, with respect to the lower one, which would be impossible if the entire stem was engraved as one line, and the trace of removing b1 in the last chord in the R.H. Therefore, the proofreading would consist in replacing the broad chord in the R.H. (with a span of a ninth) – b1-e2-b2-c3 – with an easier chord – c2-e2-b2-c3 – and in adding a b1 to the last chord in the L.H. category imprint: Differences between sources issues: EE revisions , Errors in GE , Authentic corrections of FE |