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Op. 21, Concerto in F minor, Mvt I

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b. 238

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

..

In the main text we preserve the cautionary (?) , present in all sources, before a1 as a proof of the Chopin way of thinking. However, the reason for its introduction is unclear – Chopin may have simply followed an analogy with bars 230 and 236, in which the corresponding semiquaver is a g1, always written with a .  

category imprint: Source & stylistic information

issues: Cautionary accidentals

b. 239

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

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In the main text we add cautionary flats before the E-e octave.

category imprint: Editorial revisions

b. 241-242

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

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In bar 241 in A there is not any  raising d to d (in various octaves); there is also no  before the 1st quaver of the 2nd half of bar 242. These patent defects were gradually corrected in the editions: in GE1 (→FE) naturals were added before d and d2 in the 1st half of bar 241 and a sign in bar 242, while EE and GE2 added all remaining necessary naturals (in EE a  before d1 on the 6th quaver in bar 241 was repeated). See also bar 242, 243 and 244.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Last key signature sign

b. 241

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

 & > in A

 &  in GE (→FE)

 in EE

 & > suggested by the editors
..

The  hairpin has arms of different length in A; however, one may safely assume that it reaches the 4th quaver in the bar. Therefore, the clearly shorter sign in GE (→FE→EE) is certainly inaccurate. What is more, the accent, falling in A on the 5th quaver in the L.H., was assigned to the R.H., extended and moved to the end of the 1st half of the bar (cf. bar 243). In the version of FE, the sign already looks like a second accent (under the note) on the 7th semiquaver in the R.H., which probably made the reviser of EE omit it.

In the main text we reproduce the signs of A, yet we lead  to the end of the 1st half of the bar, in accordance with the musical sense and the notation of analogous bars 243 and 245. 

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Unclear hairpins in A , Inaccuracies in A

b. 242

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

..

All sources have a  before e2, a sign that we omit in the main text as an unjustified cautionary accidental in this context. Perhaps Chopin felt the need to mark the difference with respect to the previous half-bar figure, in which there is a d2 in this place – it would be another argument confirming the fact that the absence of  before this d2 in A (→GE) is an oversight.

category imprint: Editorial revisions

issues: Cautionary accidentals