Verbal indications
|
b. 139
|
composition: Op. 21, Concerto in F minor, Mvt I
..
Chopin added sempre legato in the proofreading of FE, probably considering the accompaniment in this and two subsequent bars, devoid of slurs, requiring more precise articulation – in an analogous place in the recapitulation the L.H. is provided with slurs. In EE, in which the slurs were added here, sempre legato was omitted, which can be regarded as a rational solution, compliant with economy of indications, generally characteristic for the Chopin notation. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Authentic corrections of FE , Legato & slurs |
||||||||
|
b. 146
|
composition: Op. 21, Concerto in F minor, Mvt I
..
The change of the category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FED , Authentic corrections of GE |
||||||||
|
b. 147-148
|
composition: Op. 21, Concerto in F minor, Mvt I
..
The missing cresc. - - is certainly a mistake of GE (→FE→EE), perhaps caused by sempre più stretto having been placed between the staves, hence in a place where cresc. should be. category imprint: Differences between sources issues: Errors in GE |
||||||||
|
b. 149
|
composition: Op. 21, Concerto in F minor, Mvt I
..
In FED,
It is also unclear what a possible deletion could mean. If not category imprint: Graphic ambiguousness; Source & stylistic information |
||||||||
|
b. 151-153
|
composition: Op. 21, Concerto in F minor, Mvt I
..
The contrasting dynamic indications, creating an echo effect, in bars 151 and 153, introduced to FED most probably by Chopin, may indicate only one of the ways of interpretation of this fragment. Therefore, in the main text we give it in brackets, leaving it to the discretion of the performer. category imprint: Differences between sources |
in 
sign from the last bar that is an obstacle and between the staves it is the number 18, the slur and the 
in the part of the L.H. What is more, cresc. printed in 
is crossed by a slightly diagonal line, which can be interpreted as a deletion. However, the meaning of the dash is not certain – in Chopin pupils' copies, there are fragments containing such delicate dashes, drawn probably when discussing problematic places for the pupil. Most frequently, the dashes are of no specific meaning; they simply prove a more intense work on a given fragment.
? Or maybe 
that was valid before the said 
