mUltimate Chopin

Op. 11, Concerto in E minor, Mvt III

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b. 214

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

..

GE1 (→GE2) overlooked the crotchet stem prolonging d​​​​​​​ at the beginning of the bar.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 221

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

d1-f​​​​​​​1 tied in FE (→GE,EE)

d1-f​​​​​​​1 repeated in FEH

Our variant suggestion
..

In FEH, the ties of the d1-f1 third were crossed out. The authenticity of this variant seems to be highly likely if we take into account a number of other, almost certainly Chopinesque, variants entered into that copy. The manner the marks were crossed out resembles the Chopinesque one – cf. e.g. crossings-out in the pupil's copy of the Nocturne in D​​​​​​​ Major, Op. 27 No. 2, bar 45. In the main text, we signalise the possibility of omitting the ties with brackets.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH

b. 222

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

d1-f1 tied in FE (→GE,EE)

d1-f1 repeated in FEH

Our variant suggestion
..

In the main text, we allow a variant possibility of repeating the d1-f​​​​​​​​​​​​​​1 third, in accordance with the crossing-out of the ties in FEH in the preceding bar.

category imprint: Differences between sources; Corrections & alterations

b. 223-224

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

Tied g​​​​​​​1 in FE (→GE,EE)

No g​​​​​​​1 in bar 224 in FEH
..

The crossing-out of the tied g​​​​​​​1 note at the beginning of the bar visible in FEH may indicate a variant – cf. analogous bar 228. It was probably meant to simplify the performance, since omission of the tie, sonically practically unnoticeable, enables the f1-g1 second to be performed with the 1st finger, which, in turn, allows for an easier fingering of the upper voice. However, it cannot be excluded that the crossing-out was only supposed to suggestively signalise that this note should not be played simultaneously with the e1-e2 octave, which is indicated by a few similar crossings-out – see bars 294-295 as well as 334-335, 370-371, 377-378. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH

b. 231

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

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In FE (→GE1→GE2), the last note in the R.H. is a crotchet, which is a mistake rectified in EE and GE3. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Errors repeated in GE