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. 354-355

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

No slur or tie in FE (→GE)

Tie to ​​​​​​​G1 in EE (probable reading)

Slur in EE (different reading)
..

The curved line added in EE was probably supposed to indicate a hold of the G​​​​​​​1 quaver until the next bar. However, it is not entirely certain, since the status of the authentic staccato dot under that note is uncertain – one dot merged with the slur running over the stave placed below, whereas the second one, placed next to it, is so poorly visible that one can consider it to be a remaining element after the removal of that mark.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions

b. 355

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

Slur from c2 in FE (→EE)

Slur from e2 in GE

Slur from c4 suggested by the editors
..

The slur of FE (→EE, reproduced inaccurately in GE) almost certainly does not correspond to Chopin's intention – it is either a mistake of the engraver or a fault of [A]. In the main text, we prolong it so that it encompasses also the 1st half of the bar, yet one can assume that Chopin would have started the slur even earlier, i.e. in bar 354, if he had paid attention to this place.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE

b. 355

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

under 2nd triplet in FE (→EE,GE1→GE2)

​​​​​​​at beginning of bar in GE3
..

There are no doubts that  is in force already at the top of the passage. The placement of the marking in FE may be explained by its shape in [A] – it could have been so big that its right-hand end was already falling on the 2nd semiquaver triplet (cf. e.g. the ending of the Etude in C Minor, Op. 10 No. 12). Another possibility is a manner of writing indications within the range of their validity – cf. e.g. the end ​​​​​​​of the Etude in G​​​​​​​ Major, Op. 10 No. 5. An appropriate shift was performed already in GE3. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Centrally placed marks

b. 356

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

No fingering in FE (→GE)

Fontana's fingering in EE
..

The first finger indicated by Fontana in EE only confirms the fingering scheme marked by Chopin in print.

category imprint: Differences between sources

issues: EE revisions

b. 357

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

..

FE (→GE1→GE2) is missing the  before the 4th semiquaver, which we do not consider to be a mistake, since the 1st triplet is written an octave lower with an octave sign, and one can consider the  put before b​​​​​​​3 at the beginning of the bar to be valid. The accidental was added in EE as well as in GE3, in which a notation without octave sign was used.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions