b. 119-120
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composition: Op. 21, Concerto in F minor, Mvt I
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The cautionary flats before d1 in bar 119 and d3 in bar 120 were added by us. category imprint: Editorial revisions |
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b. 119-120
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composition: Op. 21, Concerto in F minor, Mvt I
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Sustaining the e bass note suggests that the articulation of this pair of chords does not differ from the remaining motifs in these bars, including an analogous ascending sequence at the transition between bars 120 and 121. In this situation, we consider the missing motivic slur to be Chopin's oversight. category imprint: Editorial revisions |
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b. 119-120
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composition: Op. 21, Concerto in F minor, Mvt I
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Out of the two curved lines written in A, the tie of e1 and the motivic slur of d1-c1, GE1 made one slur embracing e1-c1. The mistake was partially corrected in FE (→EE), in which the slur combines d1-c1. The correct text is only in GE2. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 120
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composition: Op. 21, Concerto in F minor, Mvt I
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Omission of the sign in GE1 (→FE→EE, →GE2) may be explained by an oversight of the engraver (the sign in A is very small and written carelessly), Chopin's proofreading or its accidental removal while proofreading the slurs, whose traces are most visible in GE1. According to us, the latter is the most likely, yet due to Chopin's potential proofreading, in the main text we suggest a mordent in brackets, which we leave to the discretion of the performer. Cf. bars 109-110. category imprint: Differences between sources issues: Authentic corrections of GE |
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b. 120
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composition: Op. 21, Concerto in F minor, Mvt I
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In A one can see that the last crotchet originally included also e, engraved then by Chopin. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |