mUltimate Chopin

Op. 21, Concerto in F minor, Mvt I

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Pedalling
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pedalling

b. 138

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

No pedalling in A (→GE)

Pedalling in FE (→EE)
..

Chopin added the pedalling in the proofreading of FE (→EE). It is a third addition – next to the tie of e2 and sempre legato – introduced in this proofreading.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 145

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

 before 5th quaver in A

 before 3rd quaver in GE (→FE→EE)
..

The too early placed  sign is undoubtedly an inaccuracy of GE (→FE→EE), undermining the dramatic effect of the dynamically exposed phrase (con forza).

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 148

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

 in A

 in GE

 in FE

 in EE
..

In the main text we place the  asterisk preserving the visible in A relations between particular elements of notation – , the rest in the L.H. and the roulade in the R.H. In GE (→FE) the sign was printed just after the chord in the L.H., still before the roulade (GE) or at its beginning (FE). It is hard to say whether it is only an inaccuracy or whether it was assumed that if it is to appear before the rest, whose value in the part of the R.H. is filled with small quavers of the roulade, it has to be placed before them. The astonishing compliance between EE and A, to which the English editor did not have access, also requires an explanation. According to us, it is a result of an extremely dense notation – having no possibility of reproducing the notation of FE, since the  sign would fall already over the end of the  sign, the engraver moved it slightly so that taking pedal made sense.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE

b. 148

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

 on quaver f in A (→GE1→FE)

 on chord in EE & GE2
..

In A the  sign concerns the F quaver, which can be also deduced from the inaccurate notation of GE1 (→FE). However, in EE and GE2 the sign was moved towards the four-note chord so that it clearly changed its sense – delaying the moment of pressing pedal by one quaver deprives the chord of an audible bass note. 

category imprint: Differences between sources

issues: Inaccuracies in GE , EE inaccuracies

b. 151-153

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

..

In the main text we give the pedalling of A as the only authentic. In spite of minor inaccuracies, bars 151-154 include detailed and consistent indications in A – the moment of pedal release is slightly different in each of four situations within two-bar phrases. The subtlety was partially lost in the editions, whereas the differences between them most probably stem from attempts (generally feeble) to order the notation made by engravers or revisers.

category imprint: Differences between sources

issues: Inaccuracies in GE , EE inaccuracies