Issues : GE revisions

b. 120-122

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

No L.H. slur in FE (→GE1GE2)

Slur to end of bar 121 in EE, contextual interpretation

Slur to bar 122 in GE3

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The added slur in the L.H. is obviously musically justified. However, in the main text we keep the original notation, since Chopin used both notations in similar contexts – with a slur only over the R.H., valid by default also for the L.H., or with separate slurs for both hands. Both EE and GE3 added a slur corresponding to the slur in the R.H. – in EE to the end of bar 121, and in GE3 to e3. The slur in EE begins only just in bar 121 (on a new line); however, its beginning points to continuation from the previous bar.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE , GE revisions

b. 122

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

Wedges in FE (→EE) & GE3

No marks in GE1 (→GE2)

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The missing wedges at the beginning of the bar are most probably an oversight of the engraver of GE1 (→GE2). The marks were added in GE3.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 124-126

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

Slur in FE (→EE) & GE3

No slur in GE1 (→GE2)

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The slur in FE was added probably in the last phase of proofreading; hence it is absent in GE1 (→GE2). It is indicated by the shape of the slur, adjusted to the already existing elements of notation with difficulty. The slur was added in GE3 (also in the L.H.).

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of FE

b. 124-126

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

No L.H. slur in FE (→EE,GE1GE2)

Slur in GE3

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Like 4 bars earlier, the slur in the L.H. added in GE3 seems to be justified yet unnecessary. 

category imprint: Differences between sources

issues: GE revisions

b. 126-127

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

FE (→EE,GE1GE2)

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It is difficult to determine how come that the correct text of GE2 (excluding the mistake in the 1st quaver in bar 127, discussed separately) was changed to the impoverished version of GE2a. Perhaps a worn-out fragment of a plate was re-engraved in order to remove the increasingly pronounced printing defects. Traces of such procedures are to be found, e.g. in the Concerto in F Minor, Op. 21 – see the characterization of its GE1a. It also happened that various mistakes were committed in a newly engraved text, most frequently, precisely, oversights. However, in the discussed place printing defects are visible rather on the available copies of GE2a; hence after possible corrections (cf. e.g. the copy from the National Library in Warsaw).
GE3 introduced here a version based on GEorch, which differs in certain details from the authentic version of FE (→GE1GE2). Could it be that the reviser of GE3 corrected the erroneous text of GE2a not having access to the authentic version printed (with only one mistake) in GE1 and GE2? It seems to be more likely than possible direct changes in the version of GE2, in which it was enough to correct the erroneous top note of the 1st quaver in bar 127.

category imprint: Differences between sources

issues: Errors resulting from corrections , Errors in GE , GE revisions