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Op. 21, Concerto in F minor, Mvt I

Text Compare Notes Sources Description

Issues : Annotations in FED

b. 98

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

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The sign added in FED over the g2-d3 quaver probably means staccato, which is indicated by the vertical line separating this quaver from the next semiquaver. The sign looks like a wedge, however, one has to remember that Chopin teaching entries are often careless and they usually deviate from the standard forms of signs. Moreover, the line, doubling the function of the rest, proves that the aim of the entries was most probably a correction of an erroneous performance; in addition, this kind of corrective entries are sometimes exaggerated. Due to this reason, in the main text we suggest a milder version of staccato.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 99-100

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

b. 101-103

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

Fingering written into FED

No teaching fingering
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Due to practical reasons, we conventionally divided the fingering in the L.H. written in FED into two parts. In one group we gathered the fingering that, according to us, does not have an equivalent alternative. The second group includes the fingering of these figures that may also be performed with different fingers. Similarly in the case of the fingering in the R.H.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 101-102

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

Fingering written into FED

No teaching fingering
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category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 101-103

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

Dashes to middle of bar 103 in A

No signs in GE1 (→FE→EE)

cresc. - - to end of bar 103 in FED

Dashes to end of bar 103 in GE2

Dashes to end of bar 103 suggested by the editors
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The missing dashes marking the range of cresc. is a typical inaccuracy of GE1 (→FE→EE). The dashes were added in GE2, leading them – differently than in A – to  in bar 104. According to us, the notation of A is indeed inaccurate, hence in the main text we suggest an appropriate extension of the dashes' range.
The not too legible entry in bars 102-103 in FED most probably means cresc. up to the end of bar 103, which would confirm our decision of marking its range this way.  

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

issues: Annotations in teaching copies , Annotations in FED , Inaccuracies in GE