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b. 466
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we suggest adding an arpeggio mark. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 466
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composition: Op. 21, Concerto in F minor, Mvt III
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The natural before b2, the 4th quaver, is present only in EE and GE2; however, due to the use of an octave sign, we consider the sound of this note to be specified also in the remaining sources. Similarly in bar 468. category imprint: Differences between sources; Source & stylistic information issues: EE revisions , Accidentals in different octaves , GE revisions |
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b. 466
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composition: Op. 21, Concerto in F minor, Mvt III
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The unfinished slur of A does not allow us to state what its final rage should look like, particularly since the next bar is written on an adjacent stave (because of the crossings-out). In particular, it is uncertain whether the literal interpretation of the slur in bar 467 as separated from the previous one (and from the next one) adopted in GE (→FE→EE) is correct. In this situation, we consider the version of the editions to be one of the possibilities; we have chosen the continuous slur written by Chopin in analogous bars 426-427 to the main text. category imprint: Editorial revisions |
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b. 466-467
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composition: Op. 11, Concerto in E minor, Mvt I
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Omitted dashes determining the range of a given indication (e.g. a dynamic one) are a frequent inaccuracy of the first Chopinesque editions. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 466-468
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, similar motifs in these bars are provided with different slurs, which is a good reason to suspect an inaccuracy. Respective unifying revisions were introduced in EE and GE3. According to us, each of those versions may correspond to Chopin's intention. In the main text, however, we leave the varying slurs, since Chopin used to provide similar motifs with different slurs – cf. e.g. bars 45-47 and 111-114. Considering the entire four-bar section in bars 466-469, we observe that the varied slurs can be considered to be harmonising with the progressive crescendo – in bars 465-466 and 466-467, the slurs end on the first octave of the bar, whereas in bars 468 and 469, the first octave is not encompassed with a slur, which somehow enhances articulation (in bar 469, there is also marcato). category imprint: Differences between sources issues: EE revisions , GE revisions |
