![](/build/images/logo_left-en.png)
![](/build/images/pl-button.5cab5de0.png)
![](/build/images/pomoc-button.d3d09842.png)
![](/build/images/pomoc-button-en.5098433b.png)
Issues : GE revisions
b. 57
|
composition: Op. 11, Concerto in E minor, Mvt III
..
In GE1, there is an erroneous additional e note on the last quaver of the bar. The mistake was rectified in GE2 (→GE3). category imprint: Differences between sources issues: Errors in GE , GE revisions |
|||||
b. 58
|
composition: Op. 11, Concerto in E minor, Mvt III
..
In the main text, we add a slur after analogous bar 286 and similar bar 59. An identical addition was introduced in GE3. Cf. bar 287. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
|||||
b. 59
|
composition: Op. 11, Concerto in E minor, Mvt III
..
We add a cautionary category imprint: Differences between sources; Editorial revisions issues: GE revisions |
|||||
b. 61
|
composition: Op. 11, Concerto in E minor, Mvt III
..
We may doubt whether the rhythmic variant occurring in FE (→EE,GE1→GE2), almost unnoticeable in relation to analogous bars 60, 288 and 289, was intended by Chopin. Similar types of imprecise notation took place in Chopin’s works, cf., e.g. bar 377. Therefore, we cannot rule out that it is the unified, concurrent with the remaining bars version in GE3 that corresponds to the composer's intent. category imprint: Differences between sources issues: GE revisions , Dotted or even rhythm |
|||||
b. 62
|
composition: Op. 11, Concerto in E minor, Mvt III
..
The concordant slurs over similar motifs in bars 60-61 and 63 prove that the missing slur in the discussed bar is an inaccuracy of notation. category imprint: Differences between sources; Editorial revisions issues: GE revisions |