mUltimate Chopin

Op. 21, Concerto in F minor, Mvt I

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 225

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

 in A

No sign in GE (→FE→EE)
..

The oversight of  in the editions is certainly a mistake, perhaps provoked by lack of space due to the slur.

category imprint: Differences between sources

issues: Errors in GE

b. 226

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

Long accent on 1st semiquaver in A

Short accent on 2nd semiquaver in GE1 (→FE)

Short accent on 1st semiquaver in EE & GE2
..

Placing the accent over the second of the last group of semiquavers in GE1 (→FE) may be considered a common mistake, if it were not for the fact that putting an accent exactly on f1 emphasises the second motif (in this case g1-f1), repeated then – and accented – in all further appearances of a similar figuration (bars 230, 234, 236, 238 and 240). It would implicate Chopin's proofreading and perhaps even a mistake of the composer in A. However, a mistake of the engraver is supported by lack of traces of removal of the accent and a high likelihood that Chopin cared more for the rhythmic rather than for the melodic motif. 

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , GE revisions , Authentic corrections of GE

b. 229

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

Accent on 2nd semiquaver in A, literal reading

Accents on 2nd & 3rd semiquaver in GE1 & EE2 (→EE3)

No marks in FE (→EE1)

Short accent on 1st semiquaver in GE2

Long accent on 1st semiquaver suggested by the editors
..

The accent in A (short) is placed over the 2nd semiquaver of the last group (b). According to us, the notation is inaccurate, and the accent is supposed to concern the 1st semiquaver. In GE1 the accent was printed in accordance with the literal interpretation of A, yet over the next semiquaver (f), another accent was added. This musically incomprehensible notation perhaps proves attempts to correct the erroneous notation. In FE (→EE1) both erroneous accents were overlooked (it cannot be excluded that it was Chopin's proofreading). GE2 has an accent over the 1st note, which most probably proves the unification of the notation of all similar bars.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

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

b. 230

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

Long accents in A, contextual interpretation

Short accent in GE1 (→FE→EE)

Short accents in GE2
..

In this bar, it is unclear what kind of accents Chopin meant – in A the first two may be interpreted as long or short, the third one is long and the fourth one is short. A comparison with analogous bars – see bar 226, allows to resolve the doubt in favour of long accents. We discuss the fourth of them separately due to the sign's vague placement.

In GE1 (→FE→EE), the first and third accents were overlooked, which was corrected in GE2. All accents in the editions are short, although the sign in FE could be considered to be long.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Errors in GE , GE revisions , Inaccuracies in A

b. 230

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

No mark in A (→GE)

Accent in FE (→EE)
..

The missing accent over g1 in A (→GE) must be considered Chopin's oversight – the accents are present in five remaining similar bars. The composer's distraction could have been caused by corrections in this place. The sign added in FE (→EE) is most probably a result of Chopin's proofreading, although one can ponder why the composer – since he already took care of the accents in this bar – did not complete the remaining deficiencies. 

category imprint: Differences between sources

issues: Authentic corrections of FE