Issues : Errors in GE
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b. 1-22
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composition: Op. 21, Concerto in F minor, Mvt I
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In GE the entire first Tutti is written in a font of a normal size, clearly against the notation of A and generally applied rules of publication of solo versions of works with orchestra. Therefore, we consider it a patent mistake, which we reproduce only in the version "transcription." One can wonder why nobody paid attention to it when preparing GE2, generally carefully revised on the basis of A. FE (→EE) did not repeat this error, which seems to be an editorial decision, perhaps consulted with Chopin. category imprint: Differences between sources issues: Errors in GE , FE revisions |
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b. 1-3
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composition: Op. 21, Concerto in F minor, Mvt I
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Upon seeing the slur of A led over the part of the L.H., impossible to reproduce in print in this form, the engraver of GE1 (→FE→EE) divided it into three parts to make it easier. According to us, the bottom slur is an addition by Chopin, who added a slur confirming the will expressed in A to embrace the part of the L.H. with one slur. In this context, it does not seem that Chopin would care about double slurs – the divided top slurs were most probably left in order to avoid an excessively complicated proofreading; it could have been a decision of the engraver or of Chopin. The added slur, although it is generally compliant with the slur of A, is, however, longer. Both versions make sense since the slur of A, led over the part of the L.H., reaches a category imprint: Differences between sources issues: Errors in GE , GE revisions , Authentic corrections of GE |
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b. 1
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composition: Op. 21, Concerto in F minor, Mvt I
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Change of the time signature from category imprint: Differences between sources issues: Errors in GE , 4/4 or 2/2 , Errors repeated in FE , Errors repeated in EE |
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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. 4
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composition: Op. 21, Concerto in F minor, Mvt I
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Omission of both staccato signs is certainly a result of distraction of the engraver of GE1 (→FE→EE). The omission of the wedge also changed the meaning of the curvy line combining both c – the motivic slur transformed into a tie. It was observed only in GE2, yet, despite additions, the version of this edition only partially corresponds to Chopin's intention. category imprint: Differences between sources issues: Errors in GE , GE revisions , Wedges |
, which is then repeated, while the slur of 
to 
is one of the most characteristic inaccuracies of first editions of Chopin's works – see e.g. the Sonata in B
