mUltimate Chopin

Op. 11, Concerto in E minor, Mvt III

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 258

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

..

FE is missing naturals lowering c​​​​​​​2(3) to c2(3) at the end of the 1st half of the bar. The accidentals were added in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 259

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

No marking in FE (→GE,EE)

​​​​​​​ suggested by the editors
..

Taking into account the identical context of bar 255, we consider the missing ​​​​​​​ mark to be a mistake.

category imprint: Editorial revisions

issues: No pedal release mark

b. 260

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

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 262

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

..

FE is missing a natural before the penultimate note in the bar; however, the accidental is present before the previous semiquaver, d3. Therefore, it can be likely that the engraver put an accidental before the wrong note, although Chopin would also occasionally write accidentals in such an illogical manner. In GE, the  was moved to before c3, whereas EE added the necessary ​​​​​​​ without removing the one from before d3. 

category imprint: Interpretations within context; Differences between sources

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

b. 262

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

No sign in FE (→GE,EE)

[] suggested by the editors
..

When interpreted literally, the authentic indications of dynamic nature do not create a coherent vision – the dolciss. indication appears in the middle of the bar after  in bars 260-261, without noticeable connection to melody, harmony or rhythm. Due to this reason, we suggest adding a ​​​​​​​ mark in the main text. However, it is only one of possible interpretations of the original notation – it cannot be excluded that dolciss. should start earlier, i.e. at the beginning of the bar or after the rest. Therefore, it would be an example of the use of the early convention of placing indications within their scope of validity (Chopin would apply it on a number of occasions, particularly in his earlier pieces).

category imprint: Interpretations within context; Editorial revisions

issues: Centrally placed marks