mUltimate Chopin

Op. 11, Concerto in E minor, Mvt III

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b. 408

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

..

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

b. 408

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

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In FE, there is no accidental before the 10th semiquaver of the bar. This time, it was regarded as an inaccuracy both in GE and EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 408

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

FE, literal reading

FE, contextual interpretation

FE, different interpretation

GE & EE
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When interpreted literally, the ambiguous, in terms of rhythmic values and division into parts, notation of FE may have a few possible versions. It is the interpretation based on a possible reconstruction of the notation of [A], rhythmically consistent, that we adopt as both the text of FE and the main text.

category imprint: Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 410

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

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In FE, sharps before the a​​​​​​​ notes are present only in the R.H. part. The inaccuracy was corrected in the remaining editions.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Inaccuracies in FE

b. 411

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

​​​​​​​ in first half of bar in FE (→EE,GE1→GE2)

No ​​​​​​​ in GE3

Our alternative suggestion
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The simultaneous presence of , under the L.H. part, and cresc. makes us assume an inaccuracy or mistake. The fact of GE3 having omitted this indication impairs the notation, yet it also clarifies it by eliminating an indication that is puzzling in this context. At the same time, since there are no arguments to reconstruct the notation intended by Chopin, in the main text we leave the notation of the majority of the sources, which presents the performer with an opportunity to guess the actual intention of the composer. Our alternative suggestion is based on an assumption that ​​​​​​​ was placed in the first half of the bar by mistake (it should have been placed in the second half).   

category imprint: Differences between sources; Editorial revisions

issues: GE revisions