Op. 11, Concerto in E minor, Mvt III

GE1 comprised the Concerto in the version for one piano and orchestral parts, sold optionally. Both the present characterization and all detailed notes refer to – with a few exceptions – the version for one piano, comprising the solo piano part and authentic piano reductions of the orchestral parts (Tutti).

GE1 is most probably based on a proof copy of FE, not including Chopin's last corrections. It bears traces of a very detailed editorial revision, performed mostly only just during the printing process; it also contains a significant number of corrections. The fact that Chopin's participation in the proofreading of GE1 was not explicitly confirmed makes the authenticity of this edition highly questionable – see the characterization of GE1 in the 1st mov. of the Concerto.

Among the revisions introduced in GE1, the most serious consequences were caused by the added  lowering g to g in bar 139 – 170 years after Chopin's death, this arbitrary change reigns almost supreme on the world's concert stages. The remaining changes cover mostly additions of overlooked accidentals, generally patent, e.g. in bar 179, 181, 186-187, 221, 262, 263-267, 358-360, 361-371, 390-391, 481, 486. Cautionary accidentals were also added, e.g. in bar 211, 214 and 218, 232, 238, 279, 374, 483 and 487; moreover:

• pedalling was revised, e.g. the mark in bar 18 was moved, marks in bars 400-401 were added,
• slurs were added and modified, e.g. in bar 115, 175, 192, 420,
• was moved to the beginning of bar 132,
• mistakes and inaccuracies in the notation of rhythm were corrected, e.g. in bar 196, 
• some of the pitch mistakes were corrected, e.g. in bar 203, 225, 
• a double bar line was added upon the return of the E major key in bar 279,
• dashes marking the range of cresc. in bars 312-313 were added,
• leggiero and Solo were added in bar 316,
• the  before a³ in bar 322 was moved to the right place and an analogous accidental was added in bar 326,
• small articulation markings were added (dots, accents, etc.), e.g. in bar 428, 

At the same time, oversights and mistakes were committed, e.g. the mistakes in bars 1 and 5, 54-55, 97, 231, 267, 338-339, 420, 450, 469 were left uncorrected. In addition, the version of bars 250-251 is probably a repetition of the mistake of FE; however, in this case it was impossible to guess the correct version. 

GE1 also committed a number of common mistakes concerning:

• pitch, e.g. c¹ instead of b in bar 66, g² instead of f² in bar 127, b² instead of d³ in bar 480,
• rhythm, e.g. one beam was overlooked in bar 60 and 479,
• various oversights, e.g. d² was overlooked on the last quaver in bar 62, wedge in bar 96, 136, staccato dots in bar 100, L.H. slur in bar 204, crotchet stem next to d in bar 214, slurs, wedges and c¹ in bars 228-230, dashes marking the range of cresc. in bars 340-342,  in bar 365, an  asterisk in bar 463, tie of E in bar 514, as well as
• from bar 9 was misplaced in bar 10,
• an erroneous e note was added at the end of bar 57,
• the dynamic hairpin in bar 57 was reversed ( instead of ),
• the initial part of the  hairpin in bars 208-209 was overlooked,

The additions performed in pencil that are visible in the presented copy – mainly fingering – are of no source value.