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b. 115-118
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composition: Op. 11, Concerto in E minor, Mvt III
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One can doubt whether the slurs of FE (→EE) faithfully convey Chopin's intention – above all, it is the combination of two three-note motifs in bars 116-117 that is puzzling; the absence of slurs in bar 117 (and 115) may also be considered an inaccuracy. Those objections are confirmed by the explicit notation of FEorch (→GEorch), in which all the aforementioned motifs are consistently separated with slurs in both parts of violins. It is perhaps on that basis that GE1 (→GE2) separated the slur in bars 116-117. According to us, it is also highly likely that the Chopinesque slurs – regardless of their number and range – were written over the notes, since the main melodic line is constituted by the topmost notes of the chords. Moving indications – slurs, dots, accents – to the side of noteheads, which was considered the right placement, was frequently used in Chopinesque editions. Therefore, in the main text we give the slurs of FE moved to above the stave; we give the slurs of GE1 (→GE2) – also moved – as an alternative suggestion. The version of GE3, which drastically changes the text of FE (→GE1→GE2), is totally arbitrary. category imprint: Differences between sources; Editorial revisions issues: Placement of markings , GE revisions |
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b. 116-117
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composition: Op. 11, Concerto in E minor, Mvt III
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In FE, the missing staccato dots over the quaver in bar 116 and semiquavers in bar 117 must be considered an inaccuracy in the face of dots in the analogous places in bars 115-118. The mark in bar 116 was added in EE, while all three dots were added in GE3. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in FE , GE revisions |
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b. 118-119
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composition: Op. 11, Concerto in E minor, Mvt III
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The missing articulation markings in the L.H. on the last three quavers of the Tutti must be considered an inaccuracy. The marks were added in EE and, partially, in GE3. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in FE , GE revisions |
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b. 119
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composition: Op. 11, Concerto in E minor, Mvt III
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FEH contains an ambiguous entry in the 2nd half of the bar – two almost vertical lines that can be interpreted as an emphasis on the entry of the solo part or, on the contrary, as a deletion of the 3rd quaver of the bar beginning the soloist part. It seems that the latter is supported by the diagonal cross over the 4th quaver, perhaps written as an additional marking of a new, shifted entry of the soloist. However, a possible variant gives rise to a number of doubts:
Therefore, the given version must be approached with great caution as a possible variant of uncertain authenticity. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
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b. 120-121
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composition: Op. 11, Concerto in E minor, Mvt III
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Full compliance between the indications of EE and FEH may be a result of natural convenience of this fingering. category imprint: Differences between sources |
