mUltimate Chopin

Op. 21, Concerto in F minor, Mvt I

Text Compare Notes Sources Description

Issues : Inaccuracies in A

b. 234

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

Long & short accents in A (literal reading→GE1)

Short accents in FE (→EE) & GE2

Long accents suggested by the editors
..

The first two accents in A (→GE1) are clearly long, whereas the next two look like short ones, which, according to us, is an inaccuracy – see bar 226. Both accents are actually written after the note, which was one of the manner of writing long accents in Chopin's previous pieces – cf. bar 230. It is also worth mentioning that the accent on the f1 semiquaver played in the L.H. is even shorter. Unification of the accents in the remaining editions is an arbitrary decision of the engravers of revisers.

category imprint: Interpretations within context; Differences between sources

issues: Long accents , Inaccuracies in FE , GE revisions , Inaccuracies in A

b. 240

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

 in A

No markings in GE1 (→FE→EE)

  in GE2
..

The missing  asterisk in A is undoubtedly a mistake – this kind of oversights would happen to Chopin on a number of occasions, and the end of a page always fosters inaccuracies. The total oversight of the second pedal in this bar in GE1 (→FE→EE) is also to be considered a mistake – there is no reason to use a different pedalling in the ending of this bar than in three previous analogous bars 234, 236 and 238. GE2 added both a  and a . In this context, the placement of the  sign adopted there is the only reasonable one, hence we give this version in the main text.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , No pedal release mark , Inaccuracies in A

b. 241

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

 & > in A

 &  in GE (→FE)

 in EE

 & > suggested by the editors
..

The  hairpin has arms of different length in A; however, one may safely assume that it reaches the 4th quaver in the bar. Therefore, the clearly shorter sign in GE (→FE→EE) is certainly inaccurate. What is more, the accent, falling in A on the 5th quaver in the L.H., was assigned to the R.H., extended and moved to the end of the 1st half of the bar (cf. bar 243). In the version of FE, the sign already looks like a second accent (under the note) on the 7th semiquaver in the R.H., which probably made the reviser of EE omit it.

In the main text we reproduce the signs of A, yet we lead  to the end of the 1st half of the bar, in accordance with the musical sense and the notation of analogous bars 243 and 245. 

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Unclear hairpins in A , Inaccuracies in A

b. 242

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

..

The natural raising d2 to d2 appears in A (→GE→FE1) only before the 13th semiquaver. The mistake was corrected – most probably by Chopin – in the proofreading of FE2 (→EE). In the main text, we omit the  on the 13th semiquaver of the bar, superfluous in relation to the sign on the 4th semiquaver.

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals , Authentic corrections of FE , Inaccuracies in A

b. 243

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

..

In A (→GE→FE) there is no  before the 8th semiquaver (d3). This patent inaccuracy was corrected only in EE.

category imprint: Interpretations within context; Differences between sources

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