mUltimate Chopin

Op. 21, Concerto in F minor, Mvt I

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b. 223

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

Fingering written into FED

Possible interpretation of FED

Other interpretation of FED

No teaching fingering
..

The '5' digit is written in FED between the c4 crotchet and the b3 quaver, opening the roulade. From the pianistic point of view, it can be ascribed both to c4 and b3 as well as to both notes. Taking the above into account, we refrained from resolving this doubt.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 224

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

3 accents in A

Short accent in GE1 & EE

Long accent in FE
..

The given version of A is already a result of Chopin's corrections, who changed the rhythm and articulation in the 1st half of the bar. Therefore, there is no doubt that the reduction of the number of accents in GE1 (→FE→EE) also came from him. In the main text we give the latest version, changing only the accent, to a long one, much more likely in this context and generally erroneously reproduced in the editions (further changes to the type of accents in FE and EE are probably arbitrary too). GE2 restored the accents removed by Chopin, which points to the use of an autograph at the time of revising GE2 and not the test copy of GE1 with Chopin's proofreading.

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

issues: Inaccuracies in FE , Corrections in A , GE revisions , EE inaccuracies , Authentic corrections of GE

b. 224

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

c2 repeated in A

c2 tied in GE (→FE→EE)
..

Together with the change of accentuation Chopin changed in the proofreading of GE (→FE→EE) also the rhythm: the last crotchet in the 1st half of the bar was sustained and a possible quintuplet of semiquavers was divided into a triplet and a pair of common semiquavers. The change, similarly as in the case of the accents, constitutes the final stage of rhythmic transformations, since the traces of corrections in A prove the existence of an already earlier version.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Authentic corrections of GE

b. 224-225

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

Slur to bar 225 in A, contextual interpretation

Slur only in bar 224 in GE (→FE→EE)
..

Although the ending of the slur in bar 225 – on a new page – is not written in A, the slur in bar 224 unambiguously points to an intention of leading the slur to the next bar.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A

b. 224-225

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

Indications in A

Indications in GE

No indications in FE (→EE1)

Indications in EE2 (→EE3)
..

The change of in tempo to a Tempo in bar 225 in GE is either a routine revision or an inaccuracy. Omission of both indications in FE (→EE1) is undoubtedly an oversight. In EE2 (→EE3) they were added on the basis of comparison with GE1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , GE revisions