mUltimate Chopin

Op. 21, Concerto in F minor, Mvt II

Text Compare Notes Sources Description

Issues : Inaccuracies in GE

b. 52

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

Slur in A, literal reading

Slur in A, contextual interpretation

Slur in GE1 (→FE)

Slurs in both hands in EE & GE2

Slurs in both hands, suggested by the editors
..

The slur written in A embraces only this bar, yet the slur in the next bar (on a new page of the manuscript) clearly indicates continuation. In the main text we assume that it is the second slur that determines Chopin's intention in this place. The slur of GE1 (→FE) is clearly erroneous, which was revised in EE and GE2. In that editions, a slur in the part of the L.H. was also added, which can be considered to be justified with regard to the consistent slurring of the parts of both hands in the remaining sections of this fragment (bars 44-45).

If in bar 45 the version with the harmonic accompaniment was chosen, one of the first three source versions is to be selected here.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccurate slurs in A , GE revisions , Uncertain slur continuation

b. 52

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

14 marks in R.H. in A

Marks in both hands suggested by the editors

15 marks in R.H. in GE

13 marks in R.H. in FE

13 marks in R.H. in EE1 (→EE2)

Marks in both hands in EE3
..

In the main text, we give articulation signs written by Chopin in the part of the R.H. in A. Taking into account the notation of the entire first section of the recitative (bars 45-57), we suggest adding these indications also in the L.H. (a similar revision was performed in EE3). GE homogenised the staccato signs, replacing wedges with dots, and added a superfluous accent on the last note. In FE (→EE) the inaccuracies aggravated – staccato signs of e2 and d2 were overlooked, whereas in EE common accents were replaced with vertical (a frequent discretion in Wessel's editions). None of these changes can be ascribed to Chopin in a justified manner.

If in bar 45 the version with the harmonic accompaniment was chosen, one of the versions with signs in the R.H. is to be selected here.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 53

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

Long & 2 short accents in A

Long & short accent according to A

Idem, R.H. only

2 short L.H. accents in GE1 (→FE)

2 short accents in GE (→contextual interpretation of FE)

No marks after FE (literal reading→EE1→EE2)

2 vertical L.H. accents in EE1 (→EE2)

4 vertical accents in EE3

2 vertical accents according to EE3

2 short accents in GE2
..

The notation of the accents in the 1st half of the bar is not entirely clear. In A the first accent has arms of different length, so that it is uncertain whether a long or short sign is to be considered here. The analogy with similar motifs at the beginning of bars 48-49 and 54-55 encourage us to consider it a long accent (our main text). On the other hand, none of the aforementioned bars includes an accent on the 2nd beat, which undermines the power of this analogy.
In addition, the aim of providing the 2nd crotchet with two accents is also unclear, which was not included in GE (→FE→EE1→EE2). Moreover, in the majority of the editions, both accents were assigned to the L.H., which is most probably a result of inaccuracy of the engraver of GE1 (corrected in GE2, where the accents were placed in the middle between the staves). The changes of font and number of accents introduced in EE are certainly inauthentic.

If the version with harmonic accompaniment was chosen in the previous note, one of the versions without accents for the L.H. (second or sixth) is to be selected here.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in GE , GE revisions

b. 53-54

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

Wedges in A

Wedges according to A

Idem, R.H. only

Dots in GE (→FE→EE)

Dots according to GE (→FE→EE)

Dots only in R.H. in FES
..

In both bars, the wedges that emphasise the topmost notes in A, b1(2) in bar 53 and a1(2) in bar 54, were reproduced in the editions as dots. 

If in bar 53 the version with harmonic accompaniment was chosen, one of the versions with signs only in the R.H. is to be selected here.

category imprint: Differences between sources

issues: Inaccuracies in GE , Wedges

b. 53

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

forte in A

 in GE (→FE→EE)
..

The change of the dynamic indication arrangement performed in GE (→FE→EE) is most probably an arbitrary decision of the engraver. Cf. bar 63.

category imprint: Differences between sources

issues: Inaccuracies in GE