mUltimate Chopin

Op. 21, Concerto in F minor, Mvt I

Text Compare Notes Sources Description

Issues : Inaccuracies in A

b. 196

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

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In A (→GE→FE) there are no naturals raising d2(3) to d2(3). Chopin's patent oversight was partially corrected in EE, by adding a  before the chord in the middle of the bar. The second necessary sign was added only in EE3. The absence of signs in GE2 draws attention, particularly considering the fact that a cautionary  before f3 was added there.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors in GE , GE revisions , Omission of current key accidentals , EE inaccuracies , Inaccuracies in A

b. 201

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

 in A, contextual interpretation

 in GE & EE2 (→EE3)

No pedal markings in FE (→EE1)
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The  sign is written in A before the b minim, which may have mislead the engraver of GE1; however, nothing indicates that Chopin's intention would be pressing the pedal from the beginning of the bar. From the practical point of view, pressing the pedal in the middle of the bar is the only solution enabling to clearly hold the c-b-c1-e1 chord during the entire 2nd half of the bar. The absence of pedalling in FE (→EE1) is most probably a result of an oversight.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Inaccuracies in GE , Inaccuracies in A

b. 202

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

Grace note in A (possible reading)

Crotchet in A (probable reading→GE)

Dotted minim in FE

Semibreve in EE
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In A it is unclear what the rhythmic value of the c2 note is – it can be considered a crotchet or a slashed grace note. We regard the first possibility as the more likely one, since the corresponding note in the oboe and clarinet parts in Morch has the same value. If we were to consider c2 a grace note, it would be difficult to explain why the remaining notes in the R.H. are written as the bottom voice (with stems pointing downwards); moreover, the slash of a grace note is usually led from bottom to top and from top to bottom.
The dotted minim in FE is most probably a result of a revision – the change was performed in the moment when the note was preceded by the erroneous flat, which Chopin would have certainly noticed. In turn, one can imagine a reviser checking the rhythmic correctness of the notation, who would not be considering the sound of the chord.
Another extension of this note in EE is certainly an editorial revision.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , FE revisions , Inaccuracies in A

b. 215

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

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In A there is no  raising b to b, which was corrected already in GE1 (→FE→EE, →GE2).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 227-228

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

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The notation of accidentals in this passage is very inaccurate in A, particularly in the part of the R.H., in which only the 1st half of bar 228 includes all necessary signs. Luckily, it does not impede the correct interpretation of the text. In the editions the signs were gradually added, but only GE2 and EE3 have the fully correct text. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Accidentals in different octaves , Errors in EE , Errors in GE , GE revisions , Authentic corrections of FE , Inaccuracies in A