mUltimate Chopin

Op. 11, Concerto in E minor, Mvt III

Text Compare Notes Sources Description

Issues : Inaccuracies in GE

b. 340-342

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

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GE overlooked the dashes marking the range of cresc. It is most probably an oversight of the engraver.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 340

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

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GE2 (→GE3) removed the rests of the solo piano part. The reason was probably the fact that they had been placed in GE1 clearly after the quaver ending the Tutti – particularly the R.H. may give an impression that the bar contains 5 quavers. The notation of FE does not pose such a threat, and the one of EE even less.

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions

b. 345-346

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

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GE is missing the dashes marking the range of diminuendo. It is probably an oversight of the engraver.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 355

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

Slur from c2 in FE (→EE)

Slur from e2 in GE

Slur from c4 suggested by the editors
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The slur of FE (→EE, reproduced inaccurately in GE) almost certainly does not correspond to Chopin's intention – it is either a mistake of the engraver or a fault of [A]. In the main text, we prolong it so that it encompasses also the 1st half of the bar, yet one can assume that Chopin would have started the slur even earlier, i.e. in bar 354, if he had paid attention to this place.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE

b. 386

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

Staccato dots in FE (→EE) & GE3

dot & wedge in GE1 (→GE2)

Wedges – our alternative suggestion
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The wedge in GE1 (→GE2) is most probably a mistake. On the other hand, one can ponder whether it could be the dots that were printed in FE by mistake in place of wedges. The main theme of this movement, out of which the motif of this and the next bar is derived, was being provided with both types of markings throughout the entire movement, yet in this fragment it is generally wedges that prevail; we can observe them, e.g. next to the bass notes in bars 386-388 and next to a chord in the R.H. in bar 387. 

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE , GE revisions , Wedges