Issues : Errors in GE
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b. 80
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composition: Op. 21, Concerto in F minor, Mvt III
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The slurs and dots with which Chopin marked the last two c2 crotchets were reproduced in GE1 (→FE→EE) as a fermata over the last of them. This seemingly impossible mistake becomes understandable when we look at the entire page of ½A – the fermatas over the whole-bar rests in the parts of particular instruments in Morch, written with flourish, look very much like the discussed slur. GE2 restored the markings of A. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 80
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composition: Op. 21, Concerto in F minor, Mvt III category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 80
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composition: Op. 21, Concerto in F minor, Mvt III category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 81-82
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composition: Op. 21, Concerto in F minor, Mvt III
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GE1 (→FE→EE) did not understand any of the two ones written in A, denoting the use of the 1st finger. The first was overlooked, whereas the second was reproduced as a staccato dot. In GE2, only the second of these places was corrected. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 83-84
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composition: Op. 21, Concerto in F minor, Mvt III
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A Chopin long accent in this bar is the longest out of the similar signs in the entire section encompassing bars 81-124. In spite of this, compared to subsequent, unequivocal accents in similar phrases, its accenting character is beyond doubt. Placing it at the end of the previous bar is undoubtedly a mistake of the engraver of GE1 (→FE→EE). In GE2, the sign was moved to the correct place, yet its exceptional length, interpreted literally, was preserved. category imprint: Differences between sources issues: Long accents , Errors in GE , GE revisions |
in bar 83 in 