Issues : Authentic corrections of GE
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b. 220-221
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composition: Op. 21, Concerto in F minor, Mvt I
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Bar 220 is the last one on the page in A and there is no slur leading to the next bar. However, the finishing of such a slur is written at the beginning of bar 221. We assume that Chopin meant a slur he put in an analogous situation two bars earlier. The incomplete slur of A was precisely reproduced in GE1, yet a second one was added in bar 220. According to us, it is likely that the addition comes from Chopin and it was aimed at indicating – approximately, in order to avoid corrections of the already printed elements, due to the engraver's convenience – the slur embracing a1-b category imprint: Interpretations within context; Differences between sources issues: Inaccurate slurs in A , GE revisions , Authentic corrections of GE , FE revisions |
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b. 222-223
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composition: Op. 21, Concerto in F minor, Mvt I
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The second slur under the groups of small notes is written in A (→GE1→FE→EE) inaccurately – it might have been ink stoppage. In this situation, it is possible that an additional slur, complementing the slurring of this group in GE1 (→FE→EE), was added at Chopin's request as a simplified proofreading of this inaccuracy. In turn, it is difficult to say what the motivation of the engraver of GE1 at the time of dividing the slur in bar 222 was. GE2 restored the slur of A in bar 222 and led the slur in bar 223 in an analogous way. In the main text we give the last version, being, according to us, closest to Chopin's intention. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions , Authentic corrections of GE |
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b. 224
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composition: Op. 21, Concerto in F minor, Mvt I
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The given version of A is already a result of Chopin's corrections, who changed the rhythm and articulation in the 1st half of the bar. Therefore, there is no doubt that the reduction of the number of accents in GE1 (→FE→EE) also came from him. In the main text we give the latest version, changing only the accent, to a long one, much more likely in this context and generally erroneously reproduced in the editions (further changes to the type of accents in FE and EE are probably arbitrary too). GE2 restored the accents removed by Chopin, which points to the use of an autograph at the time of revising GE2 and not the test copy of GE1 with Chopin's proofreading. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Inaccuracies in FE , Corrections in A , GE revisions , EE inaccuracies , Authentic corrections of GE |
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b. 224
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composition: Op. 21, Concerto in F minor, Mvt I
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Together with the change of accentuation Chopin changed in the proofreading of GE (→FE→EE) also the rhythm: the last crotchet in the 1st half of the bar was sustained and a possible quintuplet of semiquavers was divided into a triplet and a pair of common semiquavers. The change, similarly as in the case of the accents, constitutes the final stage of rhythmic transformations, since the traces of corrections in A prove the existence of an already earlier version. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Authentic corrections of GE |
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b. 224
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composition: Op. 21, Concerto in F minor, Mvt I
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The tie of c1, written in A in accordance with Chopin's habit as a short curved line before the second of the sustained notes, was reproduced accurately in GE1. However, the notation is illegible in print, hence most probably Chopin added a second longer curved line in the proofreading. The notation, which should be clear for anyone who saw A, turned out to be incomprehensible both for the engraver of FE (→EE) and – surprisingly – for the reviser of GE2. As a consequence, despite two ties, the c1 note is not sustained in those editions. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions , Authentic corrections of GE |
1-c1. This is how it was understood in 
