mUltimate Chopin

Op. 11, Concerto in E minor, Mvt III

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b. 127

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

f2 in FE (→EE) & GE3

g2 in GE1 (→GE2)
..

The compliant version of FE and all sources of the orchestral part – MFrorch and FEorch (→GEorch) – proves the mistake of GE1 (→GE2), corrected only just in GE3. 

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 128

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

 mid-bar in FE (→EE,GE1→GE2)

 at beginning of bar in GE3
..

According to us, a comparison with the dynamic markings in analogous bars 132, 136 and 140 points to an inaccurate placement of the ​​​​​​​ mark in the majority of the sources. The reason could have been the fact that [A] used a convention of placing indications within their scope of validity, and not at the beginning. Therefore, in the main text we include the shift of the mark adopted in GE3.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Centrally placed marks

b. 128

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

No sign in FE (→GE,EE)

[] suggested by the editors
..

In the face of the  marks in analogous bars 129, 132 and 133, the missing dynamic indication in the first appearance of this passage must be considered an inaccuracy (perhaps caused by the central position of the ​​​​​​​ mark). 

category imprint: Editorial revisions

b. 128

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

No mark in FE (→GE,EE)

Wedge suggested by the editors
..

The missing staccato mark must be considered here an inaccuracy of notation – cf. the three further analogous bars (bars 132, 136 and 140).

category imprint: Editorial revisions

b. 128

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

2 fingering digits in FE (→EE,GE1→GE2)

1 digit in GE3
..

In FE (→GE1→GE2), there are two digits under the first two semiquavers, 1 and 3. The latter may be considered to be a fingering digit or a triplet marking, since in those editions both were engraved in the same font. However, the former seems to be much more likely:

  • placing both digits under subsequent notes, i.e. close to each other, naturally prompts us to interpret them as marks of the same category, which the first digit determines as fingering;
  • Chopin hardly ever marked semiquaver triplets with a digit; he was generally satisfied with them being separated with beams – FE does not contain any such marking in this movement of the Concerto, cf. also, e.g. the 2nd movement of the Concerto from bar 105 or the Etude in G​​​​​​​ Major, Op. 10 No. 5.

Taking into account the above, we interpret the number three as fingering, like it was already done in EE. The absence of the digit in GE3 may be a mistake.

category imprint: Differences between sources