Issues : Inaccuracies in GE
b. 77-78
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composition: Op. 21, Concerto in F minor, Mvt I
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A later beginning of the slur over the final motif of the first phrase of the theme may be a result of Chopin's proofreading – cf. a similar correction of the slur in analogous bars 3-4. However, an inaccuracy is also highly likely: the slur of GE (→FE→EE) starts from the beginning of the bar, which was clearly preferred by the engraver of GE1. See the note below. category imprint: Differences between sources |
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b. 80
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composition: Op. 21, Concerto in F minor, Mvt I
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The typical long accent visible in A was reproduced in GE1 as . In subsequent editions, the sign would adopt a varied form, which was caused by a different density of notation and minor shifts, resulting from distinct habits of the engravers. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , EE inaccuracies |
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b. 83-85
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composition: Op. 21, Concerto in F minor, Mvt I
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The shortened hairpin in bars 83 and 85 is certainly an inaccuracy of GE (→FE→EE). The figure – or its variant – appears four times (bars 83, 85, 91 and 93) and each time the sign embraces in A four quavers. In the editions, only in bar 91 the sign was reproduced correctly. In EE, due to a very dense placement of notes, the hairpin in bar 83 took the form of an accent. category imprint: Differences between sources issues: Inaccuracies in GE , EE inaccuracies |
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b. 85
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composition: Op. 21, Concerto in F minor, Mvt I
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Leading the slur to the end of the bar is a characteristic inaccuracy of GE1. Similarly in bar 93. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 87-88
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composition: Op. 21, Concerto in F minor, Mvt I
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The half-bar slurs of GE1 (→FE→EE) are a typical example of schematic thinking of the engraver of GE1. Accurately marked slurs of A were restored in GE2. See also the note at the beginning of the bar. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |