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Op. 11, Concerto in E minor, Mvt III

Text Compare Notes Sources Description

Issues : EE revisions

b. 430

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

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FE is missing the ​​​​​​​ before the 2nd quaver in the L.H. The accidental was added in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions

b. 432

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

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In bar 432, on a new line of text, there is no ending of the slur started in the previous bar in FE. In GE and EE, the slur was prolonged accordingly. In FE, one can see that the discussed place initially contained a shorter slur, from the 2nd semiquaver to g1. Therefore, the target slur, compliant with the slur in the R.H., was probably meant to replace the markings that FE feature in bars 423-424.

category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information

issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE , Uncertain slur continuation

b. 434

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

Slur from quaver in FE (→GE1→GE2)

Slur from semiquavers in EE & GE3
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The range of the slurs in the left and right hands differs in FE (→GE→GE2), which means that one of them is most probably inaccurate. A comparison with similar bars suggests that it is the slur in the L.H., which we adjust to the slur in the R.H. in this situation. An identical change was introduced in EE and GE3.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 436

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

Wedge in FE

2 wedges in GE1 (→GE2) & EE

2 dots in GE3
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The missing wedge in the L.H. part is probably an oversight. Admittedly, we considered the wedge in bar 419, present only in the part of one of the hands, to be probably erroneous, yet in the case of the discussed bar there are not as many analogous situations allowing for comparisons (only bar 192), which leaves us without grounds to question the wedge in the R.H. featured in the sources. The accuracy of the change of wedges to dots in GE3 cannot be excluded – wedges do not appear among the staccato marks used in this theme by Chopin; nevertheless, according to us, it is not a sufficient argument to modify the version of the principal source.   

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Wedges

b. 441-443

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

 only in FE (→GE1→GE2)

    in EE

No pedalling in GE3

   [] suggested by the editors
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Just like in bars 197-198, the absence of the ​​​​​​​ mark in FE (→GE1→GE2) probably is not a mistake. The pedal is most probably supposed to be released at the end of bar 442 or at the beginning of bar 443, which may be suggested by the hold of the bass minim. The former was indicated in EE, whereas in GE3 there is no pedalling at all, which is most probably a mistake of the engraver. The mark suggested by us indicates an approximate moment of pedal release, leaving its specification to the discretion of the performer.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Errors in GE , No pedal release mark