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b. 24
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composition: Op. 21, Concerto in F minor, Mvt I
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A does not have an accidental before the topmost note in the 1st chord. The patent inaccuracy was corrected in GE (→FE→EE). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , Inaccuracies in A |
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b. 25-29
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composition: Op. 21, Concerto in F minor, Mvt I
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In A, the repeated octaves in the L.H. in bars 25-26, the group of four f1-b1 fourths in the R.H. in bar 26 and the groups of four identical chords in the L.H. in bars 27-29 are written in an abbreviated manner as quaver tremolos. In GE1 such a notation was preserved only in bars 25 and 29 and in FE only in bar 25. In EE and GE2, same as in the main text, all abbreviations were explained. category imprint: Source & stylistic information issues: EE revisions , GE revisions , Abbreviated notation of A , FE revisions |
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b. 26
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composition: Op. 21, Concerto in F minor, Mvt I
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The f1 note on the 2nd quaver of the bar was added – most probably on Chopin's demand – in the proofreading of FE (→EE). category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 26
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composition: Op. 21, Concerto in F minor, Mvt I
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The accent over the f2 minim visible in A may be interpreted as short or long. Among the remaining versions, the text of GE1 could have come from Chopin; however, an unambiguous, comprehensive reconstruction of the course of possible corrections of first editions does not seem to be possible in this place. Taking into account the fact that each notation emphasises – in one way or another – a syncopated entrance of a new, altered chord, in the main text we leave the undoubtedly authentic notation of A (in the version with a long accent, more likely in this context). category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in FE , GE revisions , Authentic corrections of GE |
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b. 27-28
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composition: Op. 21, Concerto in F minor, Mvt I
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Same as in bars 23-25, the range of the slur written in A is unclear. Under the slur there is only a group of semiquavers; however, the beginning of the slur clearly suggests that it should be started from the c2 minim. In turn, the need to lead the slur until the very next bar is indicated by the slurs of the next two similar figures as well as the slur of Morch (the 1st violin part). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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