Issues : Authentic corrections of FE
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b. 345
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composition: Op. 11, Concerto in E minor, Mvt III
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GE1 (→GE2) is missing the cautionary category imprint: Differences between sources issues: GE revisions , Cautionary accidentals , Authentic corrections of FE |
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b. 380
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composition: Op. 11, Concerto in E minor, Mvt III
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The traces of proofreading, visible in FE, reveal that the originally printed slur encompassed only the semiquavers in bar 380. category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE |
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b. 399-401
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composition: Op. 11, Concerto in E minor, Mvt III
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From the 2nd half of bar 399 on, five subsequent figures in the R.H. are devoid of slurs in GE1 (→GE2). The patent mistake was corrected in GE3. However, according to us, the roots of this mistake could have been found in FE, which is proven by the set of figures devoid of slurs in GE1 (→GE2) overlapping with the set of figures devoid of wedges on the topmost note. Such a compliance of mistakes most often points to their common origin, since committing the same or similar mistakes independently in the same place is highly unlikely. Therefore, most probably both slurs and wedges were overlooked in FE (or even in [A]), which was then corrected, but only with respect to slurs, in the last phase of proofreading of FE (→EE). category imprint: Differences between sources issues: GE revisions , Authentic corrections of FE |
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b. 404-406
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composition: Op. 11, Concerto in E minor, Mvt III
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The traces visible in FE prove that each f category imprint: Source & stylistic information issues: Authentic corrections of FE , Uncertain notes on ledger lines |
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b. 408
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composition: Op. 11, Concerto in E minor, Mvt III
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The two-bar slur in the R.H. is a result of the proofreading of FE – the traces of changes reveal that there were two slurs in the original version; the first was encompassing 3 triplets in bar 408, while the second – the remaining part of the passage. category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE |
before b2. It may indicate that the accidental was added only just in the last phase of proofreading of 
quaver was provided with an additional crotchet stem in these bars, eventually removed in the proofreading. According to us, it was not the original version, since Chopin would not introduce holds that could not be performed even by a biggest possible hand. The engraver most probably misinterpreted the dashes that Chopin, being in haste, wrote automatically along with noteheads on ledger lines. That impulse was motivated by enhancing the visibility of a notehead slashed with a ledger line; this manner led to misunderstandings on a number of occasions – cf. e.g. the Mazurka in B
Minor, Op. 24 No. 4,