Issues : Corrections in A
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b. 3-4
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composition: Op. 21, Concerto in F minor, Mvt I
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The slur, combining in A the 4th beat of bar 3 with the chord at the beginning of bar 4, concerned the original (deleted) version of the last crotchet in bar 3, in which the b note was assigned to the L.H. and written on the bottom stave. As a result, one can ponder whether in the new notation of the chord ending bar 3 the sign was to be applied too. However, since Chopin did not delete the slur, we include it in the main text, adjusting only its shape to the present notation. Omission of the slur in the editions seems to be, however, understandable in the face of the described ambiguity. na c1 category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors in GE , Inaccuracies in A |
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b. 22
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composition: Op. 21, Concerto in F minor, Mvt I
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In A one can see traces of corrections, probably transferring the part of the L.H. an octave lower (including the change of direction of the stems) from the syncopated crotchet to the end of the bar. category imprint: Corrections & alterations issues: Corrections in A |
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b. 84
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composition: Op. 21, Concerto in F minor, Mvt I
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In A one can see a correction of the group of semiquavers. The six-note version of this motif was removed, such as used by Chopin in bar 92. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Main-line changes |
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b. 85
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composition: Op. 21, Concerto in F minor, Mvt I
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The divided slur in the sources is, according to us, a result of an inaccurately drawn extension of the slur in A. Initially, the slurs embraced only the irregular groups on the 4th crotchet in bar 84 and in the 2nd half of bar 85. Chopin then extended the first of the slurs, but he did not drag him to the beginning of the second one. In an analogous situation in bars 92-93, A combined the slurs in an unquestionable way. (Cf. also continuous slurs in bars 83 and 91). category imprint: Interpretations within context issues: Corrections in A |
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b. 87
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composition: Op. 21, Concerto in F minor, Mvt I
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In A, there are visible traces of erasures before the grace note, yet it is difficult to say what was being removed. It could have been a different grace note, e1 or g1 (or even two grace notes). However, the very action of performing corrections in this place increases the chances that the grace note changed in GE1 is authentic, since it offers certainty that Chopin would consider different versions of this detail. Corrections were also performed slightly further, before the e1 demisemiquaver and over the stave, where a performance marking was removed. category imprint: Corrections & alterations issues: Corrections in A , Chopin's hesitations |
