|
b. 283
|
composition: Op. 11, Concerto in E minor, Mvt III
..
It is difficult to determine what the motivation of the reviser of GE3 was when he was changing the 2nd quaver of the bar, since it is the 4th quaver that differs from the respective dyads in the analogous bars. category imprint: Differences between sources issues: GE revisions |
|||||
|
b. 287
|
composition: Op. 11, Concerto in E minor, Mvt III
..
GE is missing the category imprint: Differences between sources issues: Omissions to cancel alteration , Authentic corrections of FE , Errors repeated in GE |
|||||
|
b. 287
|
composition: Op. 11, Concerto in E minor, Mvt III
..
In the main text, we add a slur after analogous bar 59. An additional argument for the need of a slur over those semiquavers is the Chopinesque proofreading of slurring in bars 288-289 – Chopin encompassed with a slur the analogous notes in bar 288, starting earlier the slur in bar 289. category imprint: Editorial revisions |
|||||
|
b. 287
|
composition: Op. 11, Concerto in E minor, Mvt III
..
We add cautionary naturals before e-e1 in the main text. category imprint: Editorial revisions |
|||||
|
b. 288-289
|
composition: Op. 11, Concerto in E minor, Mvt III
..
In FE, there are visible traces of proofreading of the slur – originally, both bars had identical slurs, encompassing only the 1st halves of each of them. As a result of proofreading, undoubtedly Chopinesque, the slur in bar 289 begins earlier, encompassing the last two notes of bar 288. category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE |
restoring a2 in the middle of the bar. It may mean that the accidental could have been added in the last proofreading of 
