mUltimate Chopin

Op. 21, Concerto in F minor, Mvt I

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b. 201-202

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

g1 tied in A

g1 repeatec in GE (→FE→EE)
..

Similarly as in bars 199-200, the tie of g1 was interpreted in GE (→FE→EE) as a phrase mark, combining the c1-e1 minim in bar 201 with g1 in bar 202. One has to admit that the notation of A is unclear in this case, even if we consider the Chopin way of notation of ties – Chopin wrote the part of the tie falling in bar 201 longer than usual, as he probably wanted to make the notation more legible. However, it was counterproductive: the beginning of the "longer" tie does not reach g1 anyway and it points to e1. The correct interpretation of the tie is indicated by the shape of its ending in bar 202, typical for ties, and the tie of g1 in the 1st violin part in Morch.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , Errors in GE

b. 201-202

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

..

In the main text we add cautionary flats before b in bar 201 and e1(2) in bar 202.

category imprint: Editorial revisions

b. 201

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

 in A, contextual interpretation

 in GE & EE2 (→EE3)

No pedal markings in FE (→EE1)
..

The  sign is written in A before the b minim, which may have mislead the engraver of GE1; however, nothing indicates that Chopin's intention would be pressing the pedal from the beginning of the bar. From the practical point of view, pressing the pedal in the middle of the bar is the only solution enabling to clearly hold the c-b-c1-e1 chord during the entire 2nd half of the bar. The absence of pedalling in FE (→EE1) is most probably a result of an oversight.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Inaccuracies in GE , Inaccuracies in A

b. 202

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

Quavers in A (contextual interpretation)

Dotted rhythm in GE (→FE→EE)
..

The bottom voice in the R.H. is written in A with a rhythmic error: . We assume that Chopin wrote a dot extending the f1 quaver by mistake ("in a flow" after a few other dotted rhythms in bars 201-202); afterwards, he noticed his mistake and left two quavers, expecting that the poorly visible dot would not mislead the engraver. The quavers correspond to the rhythm in the 1st violin part in Morch and they are compatible with a similar motif two bars earlier. The version of the editions, whose compliance with Chopin's intention cannot be entirely excluded, can be considered an alternative to the interpretation adopted in the main text. 

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Rhythmic errors , Errors of A

b. 202-203

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

No slur in A

Slur in GE (→FE→EE)
..

The slur appearing in the editions is most probably a result of misunderstanding of A by the engraver of GE1 – he took the bottom part of the 'g' letter from the instrument indication (Fag) for a slur.

category imprint: Differences between sources

issues: Errors in GE