|
b. 325
|
composition: Op. 21, Concerto in F minor, Mvt I
..
In the main text we add cautionary flats before d category imprint: Editorial revisions issues: Cautionary accidentals |
||||||||
|
b. 325-333
|
composition: Op. 21, Concerto in F minor, Mvt III
..
The additional slurs in bars 325 and 333 must be a revision of EE. Such double slurs were added also in the places where they are absent in the previous sources – cf. bars 326-328 and 334. category imprint: Differences between sources issues: EE revisions |
||||||||
|
b. 325
|
composition: Op. 21, Concerto in F minor, Mvt III
..
In this case – cf. bar 313 – a return to tempo primo at the recapitulation of the main theme is obvious to the pianist. However, it is not that obvious to the strings, performing a non-characteristic accompaniment. This explains the omission of a tempo in A (→GE→FE→EE). In the main text we suggest it in a variant form. category imprint: Interpretations within context; Differences between sources |
||||||||
|
b. 325-327
|
composition: Op. 21, Concerto in F minor, Mvt I
..
In A bar 325 is the last one on the page. The slur in the L.H. clearly suggests a continuation (similarly as the slur in the R.H.), which, however, is absent on a new page (in bar 326). In GE1 (→FE→EE) the slur was completely overlooked, whereas in GE2 the slur of A together with the overlooked ending was restored. Since this is how Chopin's intention undoubtedly looked like, in this case in the main text we include the slur of GE2. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , Errors in GE , GE revisions |
||||||||
|
b. 325
|
composition: Op. 11, Concerto in E minor, Mvt I
..
Frequent changes of accents from horizontal to vertical is one of the characteristic revisions of EE – cf. e.g. bar 320. In this case, vertical accents were consistently introduced also in the next three bars. category imprint: Differences between sources issues: EE revisions |
2 in the R.H. and D in the L.H. When reading less carefully, it would be tempting to use a diminished four-note chord, well liked by Chopin, which, to a certain extent, is confirmed by the 
written before d
