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. 169-170

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

Slurs in A (contextual interpretation→GE)

Slurs in FE

Slurs in EE
..

The astonishingly precise slurs of GE were most probably proofread by Chopin. It is indicated by minor traces of corrections and by the version of FE, which probably reflects the state prior to the proofreading. See also the adjacent note on staccato dots.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , Authentic corrections of GE

b. 169-170

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

No marks in A & FE (→EE)

Staccato dots on e's in GE
..

The staccato dots over the e notes in GE are almost certainly a result of a Chopin proofreading, presumably in the last stage of corrections.

category imprint: Differences between sources

issues: Authentic corrections of GE

b. 169-170

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

 in A

Alternative interpretation of A

 in GE (→FE)

 in EE
..

In the main text, we reproduce the range and placement of the  hairpin after A. In the editions, the sign was moved to between the staves, which, in this case, may, according to us, impede its correct interpretation. Placed like accents, over the melody, it seems to perform a similar function (as if of very long accents), emphasising the dynamic relationship between the suspension of e2 and its resolution, d2. Taking that into account, we regard the notation of bar 170 as clearer and we suggest a version with unified signs after bar 170 as an alternative solution.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in GE

b. 169-170

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

2 staccato dots in A (→GE)

Dot in bar 170 in FE

No marks in EE
..

FE overlooked the staccato dot at the beginning of bar 169. EE also omitted the one in bar 170 – another oversight or a uniformising revision.

category imprint: Differences between sources

issues: Errors in FE , Errors in EE

b. 171

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

E (no ) in A (→GE→FE)

E in EE1 (→EE2)

E with  in EE3
..

The missing accidental before the antepenultimate semiquaver contributes to a certain obscurity concerning Chopin's intention. Although the official rule of validity of accidentals was the same as today, he would often use them as valid not only at their absolute pitch, but also in other octaves. However, in this case E is much more likely than E, hence in the main text we add a cautionary . The legitimacy of this decision is confirmed by the cautionary  before A, added in an analogous situation in the recapitulation, bar 321. EE1 (→EE2) added a  here, changed in EE3 to a .

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves