mUltimate Chopin

Op. 21, Concerto in F minor, Mvt I

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b. 172

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

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In A there are no naturals raising d1(2) to d1(2) and b to b in the L.H. All three necessary signs were added already in GE1 (→FE→EE, →GE2).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 172

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

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In the main text we add cautionary flats before e2(3).

category imprint: Editorial revisions

b. 174

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

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The naturals before fourths, opening each of the group of semiquavers, are written in A (→GE1→FE) only in the 1st and 4th groups. EE and GE2 include the correct text.

category imprint: Interpretations within context; Differences between sources

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

b. 174

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

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In A (→GE1→FE) there is no  before F1. The sign was added in EE, whereas in GE2 sharps were added before both notes of the octave.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in GE , Inaccuracies in FE , GE revisions , Inaccuracies in A

b. 174

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

Four-note chord in A

Three-note chord in GE (→FE→EE)
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The absence of the c1 note in the editions is certainly a result of an oversight of the engraver of GE1. Although in A the note is slightly less clear than e1, its presence is unquestionable. In similar contexts, Chopin would generally use an arpeggio of the full four-note chord, cf. e.g. the Concerto in E minor, Op. 11, 1st mov., bars 210, 219 and 570, the Ballade in G minor, Op. 23, bar 124, the Scherzo in B minor, Op. 31, bar 470.

category imprint: Differences between sources

issues: Errors in GE , Uncertain notes on ledger lines