Rhythm
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b. 456
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composition: Op. 21, Concerto in F minor, Mvt III
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Both the absence of the dot extending the c1 crotchet in GE1 and the complete omission of the extension of this quaver in FE (→EE) must be mistakes. category imprint: Differences between sources issues: Errors in FE , Inaccuracies in GE , GE revisions |
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b. 463-464
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composition: Op. 21, Concerto in F minor, Mvt III
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According to us, the minor differences in the notation between these bars and analogous bars 423-424 do not indicate a different performance. Reducing the number of performance markings when repeating similar fragments is a quite frequent phenomenon in Chopin's music; it does not have to be an inaccuracy – cf. e.g. the note to bars 200-206 in the Bolero, op. 19. However, in the case of the additional crotchet stems for the c1 notes, a reason for their omission (and the pedalling markings) could have been simply haste. Due to this fact, in the main text we suggest holding the bass note, as marked by Chopin for the first time. category imprint: Editorial revisions |
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b. 464
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composition: Op. 21, Concerto in F minor, Mvt III
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The missing dot extending the c1 crotchet is most probably a result of an oversight of the engraver of FE (→EE). category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 467
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composition: Op. 21, Concerto in F minor, Mvt III
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A simplified notation with respect to analogous bar 427 may result from Chopin's mistake in A. The composer wrote the part of the R.H. from bar 465 by mistake, which he then crossed out, and wrote the correct text on a stave placed directly under the viola part. Consequently, he did not have enough space to point the additional stems upwards. category imprint: Editorial revisions issues: Deletions in A |
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b. 489-490
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composition: Op. 21, Concerto in F minor, Mvt III
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In this place, Chopin wrote a combination of trill with tremolando (cf. 1st mov., bar 335) in a precise manner, with notes, determining even the number of touches (in each bar 3 groups of 4). However, he committed a mistake while marking their value as demisemiquavers instead of semiquavers, which may suggest twice the number of required notes. This is how this mistake was revised in GE (→FE→EE), increasing the number of touches to 8 in each of the groups. It resulted in an unreasonable notation, since it is impossible to perform a thick tremolando in the tempo marked by Chopin, or even close to the Chopinesque one. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Rhythmic errors , Errors of A |
