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Op. 21, Concerto in F minor, Mvt II

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b. 14

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

No slur in A (→GE1→GE2,FE→EE1)

Slur b2-b2 in GE1a & EE2 (→EE3)
..

In the 2nd half of the bar GE1 initially included an erroneous slur, running from the b2 crotchet to the next bar (most probably instead of the slur written in A, running from b2). Over time, the traces of removal of the erroneous slur became very visible (cf. another copy of GE1), so that it was already in GE1a that the place was reengraved. However, instead of removing the traces of the original slur, it was replaced with a shorter one, reaching to b2 only. The slur was added also in EE2 (→EE3).

category imprint: Differences between sources

issues: EE revisions , Errors resulting from corrections , Errors in GE , Authentic corrections of GE

b. 15

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

Slur in A, literal reading

Slur in A, possible interpretation

Slur in A, different interpretation

No slur in GE (→FE→EE)
..

Omission of the slur in the editions could have been related to doubts concerning its reach: the slur reaches the half of the bar, but not the d1-e1 minim, which should have been written there. Therefore, it can be interpreted threefold:

  • to e on the 4th quaver, same as in bar 17 and – most importantly – in analogous bar 83;
  • to the minim, which we consider a literal interpretation and which we adopt to the main text;
  • to the end of the bar, which is indicated by its shape, ending ink and a slur added in the 2nd half of the bar probably in a proofreading of GE1 (see the note below).

category imprint: Differences between sources

issues: Inaccurate slurs in A , Errors in GE

b. 15

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

Slur in A & GE2

3 slurs in GE1 (→FE→EE)
..

In GE1 bar 15 opens a new page, which contributed to an inaccuracy in reproducing the slur in the R.H.: the slur running from the previous bar has no continuation on the new page. We interpret it in accordance with the way it was interpreted in FE (→EE). It is only in GE2 that the slur is compatible with the notation of A (although from the practical point of view, a sequence of slurs present in the remaining editions is only a strange manner of writing the same execution).

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions

b. 15

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

Crotchet e in A & GE2

Quaver e in GE1 (→FE→EE)
..

The notation of A may raise certain doubts here: the line combining both a seems to be a tie, which, however, would require the first a to be a crotchet. Chopin may have resigned from a precise notation, since he wanted to avoid deletions or excessive complications: . The notation of A was repeated without changes in all editions (this kind of simplified notation can be found in other pieces by Chopin, in the Polonaise in C minor, Op. 40 No. 2, bars 82 and 109 or in Allegro de Concert, Op. 46, bars 162 and 163).

Omission of the stem extending e on the 4th quaver is most probably an inaccuracy of the engraver of GE1 (→FE→EE). In GE2 the stem was restored, yet the inaccuracies of notation described above (in spite of introducing a few other arbitrary changes) were not removed.    

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 15

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

No slur in A

Slur in GE (→FE→EE)
..

The slur featured in GE (→FE→EE) may seem superfluous in the face of the legato indication. However, in works by Chopin one can encounter undoubtedly authentic juxtapositions of this kind, e.g. in the Nocturnes in G minor, Op. 37 No. 1, bar 1 or in F minor, Op. 55 No. 1, bar 77. Due to this fact, we give the slur in the main text (as probably added by Chopin). Similarly in bar 83.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE