mUltimate Chopin

Op. 21, Concerto in F minor, Mvt I

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Issues : Rhythmic errors

b. 23

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

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The first octave in the L.H. in A is a quaver, so that the bar includes only 7 quavers. The mistake was corrected in GE (→FE→EE), by replacing the quaver with a crotchet, which we consider an accurate interpretation of the notation of A: Chopin probably erroneously repeated the rhythmic value of the chord in the R.H., as it was in the four previous bars.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Rhythmic errors , Errors of A

b. 80

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

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In A the b and b1 semiquavers were written as quavers. Chopin's mistake was corrected already in GE1 (→FE→EE, →GE2).

category imprint: Differences between sources

issues: GE revisions , Rhythmic errors , Errors of A

b. 92

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

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In FE (→EE) the sextuplet was misprinted for demisemiquavers.

category imprint: Differences between sources

issues: Errors in FE , Rhythmic errors

b. 107

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

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In A (→GE1→FE) the dot extending the value of the crotchet was inadvertently written next to f1. The mistake was corrected in EE and GE2. The traces of erasures visible in A suggest that Chopin first inadvertently wrote dots next to both notes and then he mistook them again, deleting the one that should have stayed.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors resulting from corrections , GE revisions , Rhythmic errors , Errors of A

b. 202

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

Quavers in A (contextual interpretation)

Dotted rhythm in GE (→FE→EE)
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The bottom voice in the R.H. is written in A with a rhythmic error: . We assume that Chopin wrote a dot extending the f1 quaver by mistake ("in a flow" after a few other dotted rhythms in bars 201-202); afterwards, he noticed his mistake and left two quavers, expecting that the poorly visible dot would not mislead the engraver. The quavers correspond to the rhythm in the 1st violin part in Morch and they are compatible with a similar motif two bars earlier. The version of the editions, whose compliance with Chopin's intention cannot be entirely excluded, can be considered an alternative to the interpretation adopted in the main text. 

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Rhythmic errors , Errors of A