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Issues : Foreign hand additions in manuscripts

b. 310

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

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The natural raising a to a is written in A with pencil. The sign clearly differs from both typical Chopinesque naturals and the signs added in bar 314 (as well as from the  written with pencil in the part of the clarinet I in Morch in this place). Moreover, a denser text in GE1 suggests that in this edition a corresponding sign was added only in the proofreading. Therefore, it may be one of the later, foreign additions – cf. bar 256.

category imprint: Interpretations within context; Differences between sources

issues: Foreign hand additions in manuscripts , Omission of current key accidentals , Errors of A , Authentic corrections of GE

b. 313-314

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

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In A there is no  raising d1 to d1 on the 4th quaver in bar 313, whereas the signs in bar 314 were added with pencil. In spite of the obvious accuracy of these additions, their authenticity is not certain, since other additions made with pencil in A were added rather by a foreign hand – cf. bar 256 and 310. All sources include a  raising d1 to d1 in the last quaver in bar 313. We omit this sign in the main text, since after the oversight on the 4th quaver had been corrected, it became superfluous.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts , Omission of current key accidentals , Errors of A

b. 316

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

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In GE1 (→FE→EE) there is no cautionary  before G at the beginning of the bar, added in A later with a foreign hand. In the main text we include this sign, facilitating the interpretation.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Foreign hand additions in manuscripts

b. 322-324

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

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Three flats before g notes visible in A, written later with a foreign hand, were not included in GE1. The same applies to the cautionary  before G at the beginning of bar 324. The natural harmonic context allows to guess the correct text even without these signs; however, all doubts are dissipated by the Chopin proofreading of FE (→EE), in which all necessary flats in bar 322 were added as well as a cautionary  before A at the end of bar 323 and E at the end of bar 324. GE2 included the signs added in A, adding also a fourth one, a necessary  in bar 322 (before the penultimate semiquaver).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts , Authentic corrections of FE

b. 347

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

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In A, the flat restoring e is written with pencil; therefore, its authenticity is uncertain (see the characterization of A). There is no corresponding sign before the bottom note of this octave in A. The flats are present in all parts of Morch performing this line and in analogous bar 23. The editions feature the correct text.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts