b. 247
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composition: Op. 21, Concerto in F minor, Mvt I
..
It is difficult to say what the motivation of the reviser of GE2 was, while providing the chords at the beginning of the bar with staccato dots. Perhaps he assigned a dot over the crotchet in the cello part in Morch to the chord in the L.H., which is not entirely excluded. In any case, the sign in the R.H. is certainly absent in A. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Inaccuracies in A |
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b. 247
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composition: Op. 21, Concerto in F minor, Mvt I
category imprint: Differences between sources |
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b. 247
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composition: Op. 21, Concerto in F minor, Mvt I
..
There are no accidentals in the last group of semiquavers in the L.H. in A. In GE (→FE→EE) the signs were added after the R.H. An authentic cautionary before a2, in the editions added also before a1, draws attention. category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Cautionary accidentals , Omission of current key accidentals , Inaccuracies in A |
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b. 247
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composition: Op. 21, Concerto in F minor, Mvt I
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The missing in A is most probably Chopin's neglect. However, it is not entirely certain whether it was he that added the sign in the proofreading of GE (→FE→EE). category imprint: Differences between sources issues: GE revisions , No pedal release mark |
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b. 247-248
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composition: Op. 21, Concerto in F minor, Mvt I
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In both bars, we place the final asterisks in accordance with A, in which they seem to be placed in a well-considered manner. Moving them to the end of the bar in the editions is most probably a result of inaccuracy of the engraver of GE1. category imprint: Differences between sources issues: Inaccuracies in GE |