Issues : Authentic corrections of GE
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b. 344
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composition: Op. 21, Concerto in F minor, Mvt III
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The dotted rhythm in A is the original version (cf. analogous bar 20), left here by Chopin, perhaps unintentionally. Therefore, the quavers in GE (→FE→EE) may be a result of Chopin's proofreading, although the absence of visible traces of performing changes in print allows us to consider a possible mistake of the engraver. category imprint: Differences between sources issues: Authentic corrections of GE , Omitted correction of an analogous place |
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b. 345
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composition: Op. 21, Concerto in F minor, Mvt I
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In A the slur under the motif in the R.H. ends on a category imprint: Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A , Authentic corrections of GE |
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b. 346
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composition: Op. 21, Concerto in F minor, Mvt I
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The slurs in this and in the previous bar in GE1 were probably proofread by Chopin; however, the slur in the R.H. was left without correction here. It was considered a mistake both in FE (→EE) and in GE2, by extending this slur after the remaining ones. We also consider it to be an inadvertence, hence in the main text we give slurs embracing the entire motif in both hands. category imprint: Differences between sources; Corrections & alterations |
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b. 353-360
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composition: Op. 21, Concerto in F minor, Mvt III
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Same as in bars 177-189, in the main text we give indications – slurs and dots – introduced probably by Chopin in the proofreading of GE (→FE→EE). In A, in this fragment, written already very hastily, slurs are only in bar 353 (over the sixths) and 357 (a whole-bar slur). category imprint: Differences between sources issues: Authentic corrections of GE |
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b. 366
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composition: Op. 21, Concerto in F minor, Mvt III
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Both the change introduced in GE1 and the one in FE definitely come from Chopin who was looking for the smartest connection of this bar with the following one, as far as the piano skills and harmony are concerned. At the same time, he most probably wanted to emphasise the chromatic movement of the bass, hence the arbitrary version of EE2 certainly does not correspond to his intention. The last crotchet in bar 368 underwent the same transformation, which excludes a possibility of a mistake in both versions. category imprint: Differences between sources issues: Accompaniment changes , Authentic corrections of FE , Authentic corrections of GE |
, whereas the corresponding slur in the L.H. – on B
