Rhythm
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b. 14
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composition: Op. 11, Concerto in E minor, Mvt III
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The rest on the top stave is most probably a mistake – in this bar, both parts are still written on the bottom stave. This is how it was interpreted in EE and GE3, where the rest was removed. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 60
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composition: Op. 11, Concerto in E minor, Mvt III
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GE features an erroneous rhythm on the 2nd quaver of the bar, i.e. category imprint: Interpretations within context; Differences between sources issues: Errors in GE , Rhythmic errors |
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b. 61
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composition: Op. 11, Concerto in E minor, Mvt III
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We may doubt whether the rhythmic variant occurring in FE (→EE,GE1→GE2), almost unnoticeable in relation to analogous bars 60, 288 and 289, was intended by Chopin. Similar types of imprecise notation took place in Chopin’s works, cf., e.g. bar 377. Therefore, we cannot rule out that it is the unified, concurrent with the remaining bars version in GE3 that corresponds to the composer's intent. category imprint: Differences between sources issues: GE revisions , Dotted or even rhythm |
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b. 66-67
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we suggest prolonging the e1 quaver in bar 66 to the next bar, like Chopin marked it – probably during the last phase of proofreading – in analogous bars 294-295. Taking into account the fact that this insignificant detail of accompaniment appears two times in total a few minutes apart, we consider inadvertence to be a more likely reason for discrepancies in the notation of analogous bars than an intention to differentiate between those places. category imprint: Editorial revisions |
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b. 67
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we shorten the a crotchet to a quaver, in accordance with the notation of that place in analogous bar 295. The return of that fragment of the main theme seems to be written more carefully – cf. the previous note. However, a longer hold of that note does not negatively influence the sound – the bass note on the 2nd quaver of the bar is provided by cellos, whereas g category imprint: Editorial revisions |
– one beam is missing.
in violas may be considered the resolution of the a seventh.