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b. 219

composition: Op. 21, Concerto in F minor, Mvt III

g1 in A (→GE→FE1)

b1 in FE2 (→EE)
..

The version of A (→GE→FE1), changed by Chopin in the proofreading of FE2 (→EE), was already a result of a correction in A – originally, the 7th quaver was most probably a c2. In the main text we give the latest of these three authentic versions.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Authentic corrections of FE , Main-line changes

b. 219-220

composition: Op. 19, Bolero

 
 
 
 

Our variant suggestion
..

We suggest adding characteristic accents, in accordance with the notation in analogous bar 107. The marks were probably added by the revisers of GE and EE. In EE2 (→EE3), in addition, the last accent was arbitrarily changed to a vertical one.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 219

composition: Op. 19, Bolero

..

As in the case of analogous bar 107, in GE there is no  before a1, added most probably in the last proofreading of FE (→EE).

category imprint: Differences between sources

issues: FE revisions

b. 219-220

composition: Op. 21, Concerto in F minor, Mvt III

2 one-bar long slurs in A

Two-bar long slur in GE (→FE→EE)
..

The two-bar slur, present in GE (→FE→EE), does not bear traces of corrections in print; therefore, we assume that it was an arbitrary decision of the engraver of GE1. However, taking into consideration the fact that the slur does not distort the phrasing in this place at all, and Chopin's possible proofreading cannot be entirely excluded, we regard this version as an equal variant to two slurs of A.

category imprint: Differences between sources

issues: Errors in GE

b. 219

composition: Op. 21, Concerto in F minor, Mvt III

 above staff in A

 between staves in GE (→FE)

No mark in EE
..

Moving the  sign under the stave and shifting it to the beginning of the bar must be arbitrary changes of GE (→FE). Both changes considered together impede the correct interpretation of this sign, which applies to the top notes of the figuration in the R.H., separated with additional crotchet stems. The absence of the sign in EE is probably a result of a revision – it was assumed that there is no need to double diminuendo signs. See also bar 220.

category imprint: Differences between sources

issues: Inaccuracies in GE