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b. 218
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composition: Op. 21, Concerto in F minor, Mvt I
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Chopin added the sempre legato indication in the proofreading of FE1 (→FE2→EE). It certainly concerns the L.H., which is devoid of slurs from that place on. While writing A, Chopin would perhaps think that the slur in bar 217 would be enough (as an example to follow in subsequent figures); however, upon seeing this place during the proofreading of FE1, he considered a clearer indication of the performance manner to be necessary – this is most probably the so-called harmonic legato, i.e. holding elements of a chord with fingers, which is partially written with rhythmic values. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 218
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composition: Op. 21, Concerto in F minor, Mvt III
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According to us, it is unclear whether the bar is to be considered analogous to bars 214 and 216 or to 219 and 220. In the first case, the sign written in A under the chord in the L.H. is to be considered a long accent; we assume this interpretation, resulting from the structure of the phrases in the R.H., in the main text. In the second case, the sign would be a diminuendo ( category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 218
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composition: Op. 21, Concerto in F minor, Mvt III
category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of GE |
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b. 218
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composition: Op. 11, Concerto in E minor, Mvt I
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Like in bar 216, the digits present in EE and both pupils' copies denote the same fingering. In the main text, we give the indication whose authenticity is most likely, coming from FED. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FEH |
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b. 218-219
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composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources |
), which, both here and in the next bars, has a function of an accent.
