mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors of A

b. 320

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

Rhythm in A, literal interpretation

Rhythm in A, probable interpretation

Rhythm in A, interpretation suggested by the editors

GE1 (→FE→EE), contextual interpretation, GE2
..

The first note in the top voice in A (→GE1→FE→EE) is an erroneous double dotted quaver. Moreover, the assignment of the middle note in the 1st chord is unclear; e2 – the head, devoid of a stem, could be combined with a2 in the top voice (as in the previous bar) or with d2 in the bottom one (as in analogous bar 170). The editions repeated the layout of the previous bar, at the same time assimilating the value of e2 with a2. The editors of mUltimate Chopin are inclined to the second possibility, suggesting in the main text a solution fully analogous with the version from the exposition.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 325

composition: Op. 2, Variations, complete

d3 in AsI

e3 in A (→GE→FE,EE), literal reading

e3 suggested by the editors
..

The pitch of the 2nd semiquaver in the 5th triplet is questionable – when interpreted literally, it is an e3; however, in all analogous places a respective note is placed a fifth (perfect) lower than the previous one, in this case e3, which suggests Chopin's possible mistake. In uneven triplets, the 2nd and 3rd semiquavers melodically combine with the next triplet, which Chopin carefully marked with R.H. slurs; however, this does not determine their harmonic affiliation. The latter is determined by the L.H. sequence (with different slurs!), consisting of D-T sequences filling two subsequent quavers, which, in turn, is clearly signalled by the bass voice beams. If we also take into account Chopin's tendency to forget about previous alterations (in this case it is really far – this is the only bar within bars 321-329 in which the 1st semiquaver is altered), an accidental oversight of a  restoring e3 seems very likely. Therefore, the absence of a  to the unquestionable e3 in the next triplet belongs to Chopin's typical inaccuracies – it is a note belonging to the current chord (A major) and was marked a semiquaver earlier in the L.H. part. Taking into consideration the above, in the main text we suggest adding accidentals so that the discussed fragment of the progression does not deviate from the binding scheme.

In AsI the 5th triplet in the bar is presented in the initial form (see also bar 328), in which the problematic note is absent. The introduction of a change in this place is an argument for Chopin's mistake in A, since corrections narrow down the attention field, which is conducive to errors.

category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations

issues: Accidentals in different octaves , Omissions to cancel alteration , Errors resulting from corrections , Errors of A , Main-line changes

b. 329

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

..

There is no  before the 3rd third in A (→GE→FE→EE1→EE2). Chopin's oversight is proved by a present both in the cello part in Morch and analogous bar 5. The sign was added in EE3, probably on the basis of the indicated analogy.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors of A

b. 329

composition: Op. 2, Variations, complete

e1 in AsI

g1 in A (→GE→FE,EE)
..

We consider the version of A (→GE→FE,EE) with g1 as the last semiquaver in the bar to be Chopin's mistake. There are neither musical nor pianistic reasons to modify the scheme of a passage based on repetition of a model six-semiquaver figure in various octaves (cf. analogous figurations in bars 323 and 326), particularly in the third out of four (or even five) repeated figures. Therefore, in the main text we give e1, which is present in AsI.

category imprint: Differences between sources; Editorial revisions

issues: Terzverschreibung error , Errors of A

b. 335

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

..

The trilled note in A is an erroneous c2. A similar mistake, consisting in writing the upper second of the trilled note instead of the trilled note, while the performance of the trill begins from the upper second, was committed by Chopin also in the Bolero, Op. 19, bar 187 and in the Sonata in B minor, 3rd mov., bar 20. In GE1 (→FE→EE) the error was corrected, probably by Chopin, whereas GE2 returned to the erroneous text of A. See also the note in the next bar.

In the main text we add a cautionary  before b1.

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Errors of A , Authentic corrections of GE