mUltimate Chopin

Op. 21, Concerto in F minor, Mvt II

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b. 40

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

..

In the sources the  returning d2 is missing both before the last demisemiquaver and the next two notes at that pitch. Chopin's oversight is undeniable, yet if we were to evaluate the sound only, one can ponder whether the  was supposed to be already before the last demisemiquaver or only before the dotted quaver in the middle of the bar. From the psychological point of view, the second possibility is much more likely: it is hard to assume that Chopin would have forgotten an accidental differentiating two adjacent notes in a chromatic passage. 

category imprint: Interpretations within context; Editorial revisions

issues: Errors in FE , Errors in EE , Omissions to cancel alteration , Errors in GE , Errors of A

b. 40

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

..

On the 3rd beat of the bar A does not have flats lowering c1(2) to c1(2), which is Chopin's patent oversight: the A minor key is valid already from bar 37 and in the discussed bar it was confirmed by a  before the top most note of the passage in the 1st half of the bar. The sign in the R.H. was added already in GE (→FE→EE), whereas the  in the L.H. was added only in GE2. 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Accidentals in different octaves , GE revisions , Omission of current key accidentals , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 40

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

Short accent in A (→GE) & EE

Long accent in FE
..

The long accent present in FE may be a result of carelessness of the engraver of FE, however, Chopin's proofreading cannot be excluded, particularly taking into account the fact that an identical situation occurs a half bar later. In the main text we adopt a long accent both here and in bar 41.

category imprint: Differences between sources

issues: EE inaccuracies , Authentic corrections of FE

b. 41

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

b1 in A, FE (→EE) & GE2

b1 in GE1 & FED
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The changes in the pitch of the 2nd note in particular sources seem to prove Chopin's hesitation; the order of the versions is as follows: b1 in A, b1 in GE1, b1 returned in a proofreading of FE (→EE), most probably by Chopin, and b1 written in FED (the version of GE2 is most probably a result of a revision on the basis of A). Chopin's hesitation seems to touch the basic structure of the phrase here: melodically, the beginning of the bar is related to the previous figure, containing a b1, harmonically, it inclines towards the next chord (on the 4th crotchet of bar 41), containing a b1. A melodic solution equal to the version with b1 was used by Chopin against a similar chord in the Mazurka in A minor, Dbop. 42B, bar 52. However, one has to point out that although the authenticity of the version with b1 is unquestionable (A and a proofreading of FE), the first appearance of the version with b1 could be ascribed to a mistake (revision?) of GE while the interpretation of an entry in FED as an added  is not entirely certain. Due to this reason, in the main text we give b1. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Chopin's hesitations , GE revisions , Authentic corrections of FE , Authentic corrections of GE

b. 41

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

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None of the sources, including a b1 on the 1st beat of the bar, has a  returning b1 on the penultimate note, which is a patent inadvertence.

category imprint: Editorial revisions

issues: Omissions to cancel alteration