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Op. 21, Concerto in F minor, Mvt I

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 231

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

Staccato dot in GE2

No mark in GE1 (→FE→EE)
..

The overlooked staccato dot is most probably an oversight of the engraver of GE1 (→FE→EE), corrected in GE2.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 233-240

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

4  signs in A

3 signs in GE1 (→FE→EE)

4 signs in GE2
..

In A the  signs in bars 233, 235, 237 and 239 start more or less in the middle of the 2nd group of semiquavers, and they end more or less in the middle of the last one. Although the beginnings do not raise any doubt, in the case of the endings, the notation is, according to us, inaccurate – the virtuoso flourish and brilliance of these figures requires leading the crescendos to the accented climaxes at the beginning of the subsequent bars. This is how the endings of the hairpins were reproduced in the editions, except for bar 239, in which the sign was overlooked by the engraver of GE1 (→FE→EE). In GE1 (→FE→EE), the starting point of the signs was reproduced accurately only in bar 233; in the next two ones the signs start in the middle of the bar. GE2 includes the notation adopted in the main text.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in GE , Errors in GE , GE revisions

b. 234

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

Long & short accents in A (literal reading→GE1)

Short accents in FE (→EE) & GE2

Long accents suggested by the editors
..

The first two accents in A (→GE1) are clearly long, whereas the next two look like short ones, which, according to us, is an inaccuracy – see bar 226. Both accents are actually written after the note, which was one of the manner of writing long accents in Chopin's previous pieces – cf. bar 230. It is also worth mentioning that the accent on the f1 semiquaver played in the L.H. is even shorter. Unification of the accents in the remaining editions is an arbitrary decision of the engravers of revisers.

category imprint: Interpretations within context; Differences between sources

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

b. 234-240

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

4 L.H. accents in A

No marks in GE1 (→FE→EE)

2 accents in GE2
..

Overlooking four accents for the semiquavers in the L.H. in bars 234, 236, 238 and 240 is certainly a mistake of GE1 (→FE→EE). The signs were returned in GE2, but only in bars 238 and 240.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 236-240

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

Long accents in A

Long & short accents in GE1

 & different accents in FE

, short & vertical accents in EE

Short accents in GE2
..

All accents in the R.H. in bars 236, 238 and 240 are clearly written and they are undoubtedly long accents. In spite of this, in GE1 the signs in bar 238 were overlooked, whereas the remaining ones were reproduced inaccurately – the last two accents in bar 236 and the last one in bar 240 are short. In FE and EE bar 238 was left without signs, whereas the notation of the remaining ones was distorted – in bar 236 the first accent became a  embracing three (FE) or four (EE) semiquavers, whereas the second one was overlooked; in bar 240, EE used vertical accents. In GE2, all accents of A in these bars were reproduced as short ones.

category imprint: Differences between sources

issues: Long accents , EE revisions , Errors in FE , Inaccuracies in GE , Errors in GE , GE revisions