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Op. 21, Concerto in F minor, Mvt I

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b. 331

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

..

In the main text we add a cautionary  before a.

category imprint: Editorial revisions

b. 335

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

..

The trilled note in A is an erroneous c2. A similar mistake, consisting in writing the upper second of the trilled note instead of the trilled note, while the performance of the trill begins from the upper second, was committed by Chopin also in the Bolero, Op. 19, bar 187 and in the Sonata in B minor, 3rd mov., bar 20. In GE1 (→FE→EE) the error was corrected, probably by Chopin, whereas GE2 returned to the erroneous text of A. See also the note in the next bar.

In the main text we add a cautionary  before b1.

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Errors of A , Authentic corrections of GE

b. 335-336

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

No slur in A

Tie in GE1 (literal reading→FE→EE)
& GE2

Slur in GE1, contextual interpretation
..

Due to pitch errors both in A and GE2 (in bar 335) as well as in GE1 and in the remaining editions (in bar 336), it is difficult to evaluate the authenticity of the curved line appearing in the editions and to unravel its meaning. It combines notes at the same pitch level – b1 in GE1 (→FE→EE) and c2 in GE2 (literal interpretation) – which confers it the nature of a tie. According to us, the curved line could have been added by Chopin together with the proofreading of the erroneous trilled note in bar 335 or by the engraver of GE1 together with the superfluous change of the crotchet in bar 336. Taking into account that in GE1 these bars are on different pages, it is more likely to relate the curved line to a change performed on the same page, hence in bar 335, particularly since in bar 336 GE1 does not include the ending of this curved line at all. It leads to a version with a slur linking the trilled b1 with the c2 crotchet, to a certain extent analogous to the ending of the exposition (bars 179-180). In face of source and interpretative doubts concerning the curved line, in the main text we leave the version without it, written in A.

category imprint: Differences between sources

issues: GE revisions

b. 335-336

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

No markings in A (→GE)

 in FE

  in EE

 [] suggested by the editors
..

The  sign in FE (→EE) was certainly added by Chopin – cf. analogous bar 179. In that case the composer also did not mark the place of the pedal's release. In the main text we suggest an addition, compliant with the revision introduced in EE.

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE , No pedal release mark

b. 335

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

No marking in A (→GE)

in FE (→EE)
..

 in FE (→EE) is undoubtedly a Chopin addition in the proofreading of FE1. Chopin added dynamic markings also in bar 337 and 341.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE