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b. 151-153
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composition: Op. 21, Concerto in F minor, Mvt I
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The contrasting dynamic indications, creating an echo effect, in bars 151 and 153, introduced to FED most probably by Chopin, may indicate only one of the ways of interpretation of this fragment. Therefore, in the main text we give it in brackets, leaving it to the discretion of the performer. category imprint: Differences between sources |
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b. 151-153
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composition: Op. 21, Concerto in F minor, Mvt I
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In A the only category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , Last key signature sign , Inaccuracies in A |
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b. 151-153
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composition: Op. 21, Concerto in F minor, Mvt I
..
The category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Authentic corrections of FE , |
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b. 151-153
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composition: Op. 21, Concerto in F minor, Mvt I
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The long accents at the beginning of the semiquaver passages in bars 151 and 153, overlooked in GE1 (→FE→EE), were restored in GE2 as short accents. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 151-153
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composition: Op. 21, Concerto in F minor, Mvt I
..
In the main text we give the pedalling of A as the only authentic. In spite of minor inaccuracies, bars 151-154 include detailed and consistent indications in A – the moment of pedal release is slightly different in each of four situations within two-bar phrases. The subtlety was partially lost in the editions, whereas the differences between them most probably stem from attempts (generally feeble) to order the notation made by engravers or revisers. category imprint: Differences between sources issues: Inaccuracies in GE , EE inaccuracies |
& 
in 
raising d
to d appears in the 1st half of bar 153. Five out of seven necessary signs were added already in 
in 
in 
