Issues : GE revisions
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b. 45
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composition: Op. 21, Concerto in F minor, Mvt I
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The staccato dots on three octaves in the bass are most probably either an arbitrary addition of the engraver of GE1 or an erroneously included signs from the cello part in Morch. category imprint: Differences between sources issues: GE revisions |
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b. 46
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composition: Op. 21, Concerto in F minor, Mvt I
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The missing grace note is probably an oversight of the engraver of GE1 (→FE→EE). We suggest completing the bass line also in the middle of the bar, although the missing bass note of the chord there is significantly less noticeable (in the solo part, Chopin wrote octaves in analogous bars 134 and 282). category imprint: Differences between sources; Editorial revisions issues: Errors in GE , GE revisions |
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b. 49
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composition: Op. 21, Concerto in F minor, Mvt I
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Before the last pair of octaves in the L.H. there are no flats in A, as a result of which they should be read as A-a. Chopin's oversight, corrected already in GE1 (→FE→EE, →GE2), is proved by the flats in the parts of all instruments performing the bass line visible in Morch. category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions , Errors of A |
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b. 49
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composition: Op. 21, Concerto in F minor, Mvt I
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In A the repeated quavers in the parts of both hands are written in an abbreviated manner as quaver tremolos. In GE1 (→FE) the notation was preserved only in the first half of the bar, while in EE and GE2, same as in the main text, all abbreviations were explained. category imprint: Source & stylistic information issues: EE revisions , GE revisions , Abbreviated notation of A |
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b. 51
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composition: Op. 21, Concerto in F minor, Mvt I
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The missing staccato dot is a result of an oversight of the engraver of GE1 (→FE→EE). In such a context, the sign refers also to the L.H., which we include in the main text. category imprint: Differences between sources; Editorial revisions issues: Errors in GE , GE revisions |
