Chopin F. Concerto No 1 (E minor). For two pianos

The present edition of the Concerto Е minor bу Chopin is based оп the same principles, which the editor was directed bу during the process of his mutual work with G. G. Neuhaus and L. N. Oborin at the complete works of Chopin’s compositions.

On the one hand the editor’s objective was to introduce the most precise and critically adjusted text of the Concerto. On the other hand — to provide this text with the necessary minimum of the performing and textual indications.

The editor is sure, that the problem of variants’ choice is one of the most profound problems while Chopin’s compositions studying and performing, which can’t be solved bу the means of the arbitrary selection according to some individual taste. It requires thorough critical approach to the text, accurate knowledge of the account’s details and at last Chopin’s understanding in its full capacity.

Hence the editor used all the accessible publications of the Concerto. Besides, the richest experience of the latest editions is taken into consideration, including the Polish edition bу Paderevski.

All the most essential variants of interpretation are stipulated in special underline commentaries, and in some individual occasions they are given in the music text оn the additional lines.

The manner of account, Chopin’s spelling, the peculiarities of writing, including his performing indications are preserved untouched as possible. The editor almost didn’t use the enharmonic substitutions, trying to be very careful, while distributing the material on the staff. Не deviated from the first editions’orthography only when it was necessary. The ornaments are present in Chopin’s original writing; the author’ fingering signs are fully preserved and marked by the large type, the editor’s fingering is printed by small type. The реdal put in the text is taken from the first editions, i. e. it belongs to Chopin himself. The same is with agogic, dynamic and articulation indications. The editor’s agogic, J dynamic and other additional emendations аre parenthesized in square brackets and are marked by dotted line.
     The orchestra part’s version is carefully adjusted, precised and made in some cases by the editor himself according to the Concerto score, published by the “Breitkopf and Härtel” in 1880 in Leipzig, taking into f consideration the emendations inserted to the score’s latest edition. The references to these or those instruments entering Chopin’s orchestra are introduced as completely as possible. Orchestra tutti are given mainly so as they were accounted in the old editions of Concerto for one piano.