mUltimate Chopin

Op. 11, Concerto in E minor, Mvt III

Text Compare Notes Sources Description

Issues : Centrally placed marks

b. 128

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

 mid-bar in FE (→EE,GE1→GE2)

 at beginning of bar in GE3
..

According to us, a comparison with the dynamic markings in analogous bars 132, 136 and 140 points to an inaccurate placement of the ​​​​​​​ mark in the majority of the sources. The reason could have been the fact that [A] used a convention of placing indications within their scope of validity, and not at the beginning. Therefore, in the main text we include the shift of the mark adopted in GE3.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Centrally placed marks

b. 132

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

 on 2nd quaver in FE (→EE)

 at beginning of bar in GE
..

A comparison with the dynamic markings in analogous bars 136 and 140 points to an inaccurate placement of the ​​​​​​​ mark in FE (→EE). In the main text, we take into account the shift of the mark adopted in GE. 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Inaccuracies in FE , GE revisions , Centrally placed marks

b. 232

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

 in FE (→GE,EE)

 suggested by the editors

Different interpretation of sources
..

The position of the  mark is insufficiently justified, as far as music is concerned – if the new phrase was supposed to be performed piano (following the previous forte), it should be performed so rather from the beginning of the bar. Therefore, it would be an example of applying the manner of placing indications within their scope of validity. However, the mark in [A] may have been only slightly moved beyond the 1st quaver in the L.H. due to lack of space between the staves. In the main text, we take an attempt to approximately reconstruct that placement; it can also be interpreted literally as ​​​​​​​ right after the beginning of the bar which would perform a double role – end the previous phrase and begin a new one.   

category imprint: Editorial revisions

issues: Centrally placed marks

b. 262

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

No sign in FE (→GE,EE)

[] suggested by the editors
..

When interpreted literally, the authentic indications of dynamic nature do not create a coherent vision – the dolciss. indication appears in the middle of the bar after  in bars 260-261, without noticeable connection to melody, harmony or rhythm. Due to this reason, we suggest adding a ​​​​​​​ mark in the main text. However, it is only one of possible interpretations of the original notation – it cannot be excluded that dolciss. should start earlier, i.e. at the beginning of the bar or after the rest. Therefore, it would be an example of the use of the early convention of placing indications within their scope of validity (Chopin would apply it on a number of occasions, particularly in his earlier pieces).

category imprint: Interpretations within context; Editorial revisions

issues: Centrally placed marks

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