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
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 139

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

Staccato dots in A (→GE)

No marks in FE (→EE)
..

The missing staccato dots in the 2nd half of the bar is one of numerous errors of FE in this bar.

category imprint: Differences between sources

issues: Errors in FE

b. 140

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

11 dots in A

16 dots in GE

15 dots in FE (→EE)
..

Generalising staccato dots to all semiquavers is almost certainly an arbitrary decision of GE (→FE→EE). It is proved by the original slurring of A in which the slur embraced only three groups of semiquavers: the ones with dots. According to us, it points to interconnected indications, which is quite frequent in Chopin's works; in this way, Chopin would indicate a milder or more delicate articulation than the common staccato. At the same time, the original slur confirms that according to Chopin's intention, the described performance manner concerned only 11 notes.

category imprint: Differences between sources

issues: GE revisions

b. 140

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

 to b2 in A

Whole-bar  in GE (→FE→EE)
..

Extending the  hairpin into an entire bar is an example of a characteristic manner of the engraver of GE1. The sign in A leads to the topmost note in this bar and not to the beginning of the next one; similarly in analogous bar 288.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 141

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

Slur from c2 in A, literal reading

Slur from a2 in A, possible interpretation

Slur from b1 in GE (→FE→EE)
..

The slur's starting moment raises doubts in the sources. Perhaps the slur of A, according to Chopin's intention, was to embrace only two notes of the top voice, which was so clearly marked in the recapitulation (bar 289). On the other hand, the slur of A, interpreted literally, as well as the version of the editions may also be considered an expression of the composer's intention:

  • a slur from c2 coincides with a shortened value of the preceding note in the top voice, b2, which was written as a quaver without a dot;
  • a slur from b1 also refers to the mentioned shortening of b2, yet it does not separate the b1-c2 motif, creating a pendant both to the earlier d2-e2 motif and to the ones in the top voice.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A

b. 141-142

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

Different accents in A (→GE→FE)

Short accents in EE
..

EE unified the font of the accents in these bars, by arbitrarily changing two long accents in bar 142 and the vertical accent in bar 143 to common, short accents. It is particularly strange in the case of the vertical accent, since it was the signs with which EE would eagerly replace Chopin short or long accents.

category imprint: Differences between sources

issues: Long accents , EE revisions