Op. 21, Concerto in F minor, Mvt II

  b. 45-52

		Accompaniment in FES, literal interpretation
		Accompaniment in FES, contextual interpretation
		Version of remaining sources

In FES Chopin wrote a simplified reduction of the recitative's orchestral accompaniment, which can be used while performing this movement solo. This type of alternative part of the L.H. for fragments led unisono was given by Chopin also in the printed versions of the Variations, Op. 2 and the Krakowiak, Op. 14. In the Concerto, apart from replacing the original part of the L.H. with a figurative harmonic accompaniment, Chopin completed or changed in a few places also the part of the R.H. (bar 45, 49-50, 58 and 60, and also 59 and 61-62). In spite of the simplified and summarised notation, interpretation of the added text poses minor difficulties in a few places only:

• in spite of the fact that the pedal release sign is printed in FE at the beginning of bar 45, the harmonic accompaniment was written in a way suggesting releasing the pedal already at the end of bar 44. In the entire movement, the typical harmonic pedalling is most probably to be applied – a new pedal at least at the beginning of each harmonic change;
• in bar 45 Chopin wrote the first group of 6 quavers, whereas the subsequent 5 figures in bars 45-47 were marked by him as its repetitions; however, most probably his aim was to repeat the harmonic scheme and not to literally repeat all notes, since striking the bass in the bottom octave (A₁) each time is technically uncomfortable and sonically unjustified (a similarly inaccurate, summarised notation is to be found also in the Etude in A major, Op. 25 No. 1, bars 1-8 and the Nocturne in D major, Op. 27 No. 2, bar 1);
• the notation of bar 50 includes only the A₁ crotchet (played with the R.H.) and one group of six quavers written on the margin; it is most probably an inaccuracy, since leaving a half of the bar without harmonic and rhythmic filling seems to be highly unlikely in this context;
• the 2nd half of bar 60 is written as a draft – it most probably means that it is to be shaped after analogous bar 58 and this is the solution we suggest;
• at the end of bar 61 Chopin did not indicate which sounds to choose from the chord on the upper stave; however, he did it at the beginning of bar 62, indicating three top notes. On this basis, in bar 61 we use an a¹. In addition, we leave the inclusion of the a² note, of uncertain authenticity, at the discretion of the user – see bar 61;
• in bars 62, 66, 70 and 71 in later collective editions giving the version added in FES, there are mistakes in deciphering the Chopin notation (d instead of c in the chords of the 2nd half in bar 62, the missing last chord in bar 66, too high position of the chords on the 2nd and 4th crotchets in bar 70 and B instead of e as the bass note in bar 71);
• in bars 64-65 the accompaniment variant comes from us, on the basis of the authentic sound of the orchestra reproduced after FE (Morch has a very similar version, in bar 65, however, there is a mistake in the viola part – d¹ instead of c¹); moreover, in bar 65 the 2nd triplet of quavers is not included;
• in bar 70 the notation is erroneous, since the stave has in fact six lines, out of which the triplet in the bass clef uses five lower ones and the triplet in the treble clef – five upper ones.

After choosing the version with the harmonic accompaniment, it may be necessary to select relevant versions also in bars 45 (pedal), 46 (staccato dots), 47-48 (slurs), 51 (slurs) and 52 (slurs and staccato signs). Similarly on the following pages.

Compare the passage in the sources »

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies, Annotations in FES, Authentic post-publication changes and variants

notation: Pitch

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