Issues : Annotations in teaching copies
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b. 370
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composition: Op. 11, Concerto in E minor, Mvt III
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The finger swap written in FEH reminds of the need for a strict implementation of the tied bass note – see bars 361-363. category imprint: Differences between sources |
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b. 371
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composition: Op. 11, Concerto in E minor, Mvt III
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In FEH, the bottom F minim is crossed out. Like in a few other cases, it is just an additional reminder that the note should not be played and not an actual abandonment of the tie, according to us. Such a transfer of the bass note while preserving a common note is one of the characteristic Chopinesque procedures, c.f. e.g. bars 360-363 i 368-369 as well as the Etude in C Major, Op. 10 No. 1, bars 49-50 and 65-66 or the Fantasy in A Major, Op. 13, bars 114-119. category imprint: Source & stylistic information |
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b. 372-373
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we include the digits written in FEH that, according to us, could have been written by Chopin. category imprint: Differences between sources |
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b. 372
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composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources |
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b. 373-374
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composition: Op. 11, Concerto in E minor, Mvt III
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In FE, the slurring of these bars is inaccurate – the slur in the 2nd half of bar 373 ends between the penultimate and the last semiquaver, whereas in bar 374, on a new line of text, there is a slur, reaching the 1st quaver, suggesting continuation from the previous bar. We consider the interpretation adopted in EE to be the text of FE, while the version of GE may be considered an alternative interpretation. As the 2nd triplet in bar 373 left without slur is also questionable, in the main text we suggest a slurring modelled after analogous bars 377-378. category imprint: Differences between sources; Editorial revisions issues: Annotations in teaching copies , Errors in GE , Annotations in FEH |
