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Op. 21, Concerto in F minor, Mvt I

Text Compare Notes Sources Description

Issues : EE revisions

b. 145

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

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None of the sources includes the correct notation of accidentals, although omissions do not impede the interpretation. In A there is no  raising d1 to d1 on the 4th quaver (it is also absent before the 7th quaver) and d2 to d2 at the end of the group of demisemiquavers. In GE (→FE) the last sign was added and a  before d on the 6th quaver was repeated, whereas GE2 removed the superfluous  before the second b2. EE is closest to the correct notation, in which the only inaccuracy, perhaps resulting from a different approach to such situations, is a missing  before d1 on the 7th quaver – a  already appeared in this bar before a note at this pitch, yet in another clef (on the 4th quaver).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions

b. 146

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

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In A (→GE→FE) there is no  raising d2 to d2. The patent inaccuracy was corrected in EE, adding also a cautionary  before c2.

category imprint: Differences between sources

issues: EE revisions , Accidentals in different octaves , Omission of current key accidentals , Inaccuracies in A

b. 148

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

 in A

 in GE

 in FE

 in EE
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In the main text we place the  asterisk preserving the visible in A relations between particular elements of notation – , the rest in the L.H. and the roulade in the R.H. In GE (→FE) the sign was printed just after the chord in the L.H., still before the roulade (GE) or at its beginning (FE). It is hard to say whether it is only an inaccuracy or whether it was assumed that if it is to appear before the rest, whose value in the part of the R.H. is filled with small quavers of the roulade, it has to be placed before them. The astonishing compliance between EE and A, to which the English editor did not have access, also requires an explanation. According to us, it is a result of an extremely dense notation – having no possibility of reproducing the notation of FE, since the  sign would fall already over the end of the  sign, the engraver moved it slightly so that taking pedal made sense.

category imprint: Interpretations within context; Differences between sources

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

b. 151-153

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

Short accents in A (→GE→FE)

Vertical accents in EE
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Change of the font of the accents in bars 151 and 153 is a characteristic manner of EE. Similarly in further analogous bars.

category imprint: Differences between sources

issues: EE revisions

b. 154

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

Long accent in A

Short accent in GE (→FE)

Vertical accent in EE
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The clearly long accent in A was reproduced in GE (→FE) as a short one, whereas EE changed it to a vertical one.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in GE