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b. 41
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composition: Op. 21, Concerto in F minor, Mvt II
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In GE2 the grace note was tied with a curved line to the following semiquaver. It is a routine revision, unfortunate in this context, since it suggests sustaining the grace note. category imprint: Differences between sources issues: GE revisions |
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b. 41
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composition: Op. 21, Concerto in F minor, Mvt II
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The version of the majority of the editions is most probably a result of having misunderstood the notation of A: the erasure of the grace note may be considered the beginning of a slur over the group of semiquavers. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 41-42
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composition: Op. 21, Concerto in F minor, Mvt II
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In A one can see an extension of a slur that, initially, embraced only the group of semiquavers in bar 41. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 41
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composition: Op. 21, Concerto in F minor, Mvt II
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We preserve the source notation of this figure using semiquavers. It cannot be excluded that Chopin heard here a quaver triplet divided into semiquaver triplets, which is compatible with the natural shape of the melodic structure of this group. See the 1st mov., bar 93. category imprint: Source & stylistic information |
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b. 41
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composition: Op. 21, Concerto in F minor, Mvt II
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The long accent could have been introduced in FE by Chopin (cf. bars 39-40), hence we adopt it to the main text. category imprint: Differences between sources issues: Long accents , EE inaccuracies , Authentic corrections of FE |
