Issues : EE revisions
b. 93
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composition: Op. 21, Concerto in F minor, Mvt I
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In spite of a clear combination of original slurs in A, put over irregular groups, in GE (→FE→EE) the slur is divided more or less in the middle of the bar (in EE the beginning of the second slur was moved, with a reason in this situation). category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: EE revisions , Corrections in A , Errors in GE |
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b. 96
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composition: Op. 21, Concerto in F minor, Mvt I
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The sign is placed in A (→GE1→FE) over the R.H., since the pedal here is supposed to, above all, preserve the sound of the g2 minim. Chopin used a similar notation in the Prelude in F major, Op. 28 No. 13, bars 33-35. The revisers of EE and GE2 considered this suggestive notation to be unworthy of keeping. In the main text we add the overlooked by Chopin sign. category imprint: Differences between sources issues: EE revisions , No pedal release mark |
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b. 99-100
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composition: Op. 21, Concerto in F minor, Mvt I
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In these bars, in the part of the R.H. A has only one raising d to d – at the beginning of bar 99. The returning b1 at the beginning of the septuplet in bar 100 is also missing (all previous figures are delayed at the beginning of the group, a suspicion of Chopin's mistake is confirmed by the written in FED). The editions added both necessary and cautionary signs; superfluous signs were deleted too, yet none of the editions has the completely correct text. In the main text we give all signs necessary for the correct determination of the pitch and two cautionary flats at the beginning of bar 100. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Annotations in teaching copies , EE revisions , Annotations in FED , Omissions to cancel alteration , Errors in GE , GE revisions , Cautionary accidentals , Omission of current key accidentals , Inaccuracies in A |
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b. 101-103
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composition: Op. 21, Concerto in F minor, Mvt I
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The notation of accidentals in the figurations in these bars is both refined and inaccurate in A. Chopin took care of the cautionary signs (naturals before the topmost c2, c3 and c4 notes and flats before d1 and d3 in the ending of bars 101 and 103); however, he omitted a number of necessary signs – naturals returning c2 and c3 at the beginning of the last group in bars 102 and 103 and naturals raising d2 to d2 and e2 to e2 in bar 103. The editions addressed only the last two mentioned inaccuracies:
In the main text we give all necessary signs and we add a cautionary before d2 in bar 102. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Accidentals in different octaves , Omissions to cancel alteration , GE revisions , Cautionary accidentals , Omission of current key accidentals , Inaccuracies in A |
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b. 104
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composition: Op. 21, Concerto in F minor, Mvt I
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In GE1 the second out of three accents was overlooked and the difference in their length was not taken into account. The overlooked accent was restored in the proofreading of FE (most probably by Chopin) and in GE2. The change of font of the accents in EE is a typical revision of this edition. category imprint: Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , Errors in GE , GE revisions , Authentic corrections of FE |