mUltimate Chopin

Op. 21, Concerto in F minor, Mvt I

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Articulation, Accents, Hairpins
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Articulation, Accents, Hairpins

b. 164

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

Accent over c3 in A

Accent over third in GE (→FE→EE)

Our alternative suggestion (long accent)
..

The accent in A certainly concerns c3, and not the d2-f2 third, as it was reproduced in the editions (cf. analogous bar 314 in the recapitulation). It is also unclear what kind of accent Chopin meant here, long or short. The sign is very similar to the short accents at the beginning of bars 162 and 164, yet it also does not differ significantly from the long accents in bars 159 and 161. Since the accent in an analogous bar in the recapitulation is clearly long, we suggest a version with such an accent also in this place.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE

b. 169-170

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

No marks in A & FE (→EE)

Staccato dots on e's in GE
..

The staccato dots over the e notes in GE are almost certainly a result of a Chopin proofreading, presumably in the last stage of corrections.

category imprint: Differences between sources

issues: Authentic corrections of GE

b. 169-170

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

 in A

Alternative interpretation of A

 in GE (→FE)

 in EE
..

In the main text, we reproduce the range and placement of the  hairpin after A. In the editions, the sign was moved to between the staves, which, in this case, may, according to us, impede its correct interpretation. Placed like accents, over the melody, it seems to perform a similar function (as if of very long accents), emphasising the dynamic relationship between the suspension of e2 and its resolution, d2. Taking that into account, we regard the notation of bar 170 as clearer and we suggest a version with unified signs after bar 170 as an alternative solution.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in GE

b. 169-170

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

2 staccato dots in A (→GE)

Dot in bar 170 in FE

No marks in EE
..

FE overlooked the staccato dot at the beginning of bar 169. EE also omitted the one in bar 170 – another oversight or a uniformising revision.

category imprint: Differences between sources

issues: Errors in FE , Errors in EE

b. 171

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

Staccato dot in A & GE2

No mark in GE1 (→FE→EE)
..

The staccato dot over the last chord in GE1 (→FE→EE) was probably overlooked. However, in the proofreading of FE Chopin changed the concept of phrasing and articulation of the 2nd half of the bar, by embracing the chord with a slur and at the same time authorising the missing staccato. In the main text we adopt the changed version. GE2 returned the dot after A.

category imprint: Differences between sources

issues: Errors in GE , GE revisions