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Issues : EE revisions
b. 9
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composition: Op. 11, Concerto in E minor, Mvt II
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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 |
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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 d category imprint: Differences between sources; Editorial revisions issues: EE revisions , Authentic corrections of FE |
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b. 16-17
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composition: Op. 11, Concerto in E minor, Mvt II
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It is unclear from the notation of FE (→GE) to which notes the endings of the slur are supposed to be linked. When interpreted literally, the slur leads from d category imprint: Interpretations within context; Editorial revisions issues: EE revisions |
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b. 17
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we suggest a whole-bar slur in the L.H. after the authentic slurs encompassing figures of a similar shape in bar 20 and 23-25. The addition was introduced also in EE and GE3. A similar situation in analogous bar 58. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |