mUltimate Chopin

Op. 21, Concerto in F minor, Mvt II

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 36

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

..

GE misreproduced the indication as radoscendo. The correct spelling appears in a proofreading of FE (→EE), perhaps as a result of Chopin's intervention. (The contemporary Italian orthography requires it to be spelled with a double "d": raddolcendo).  

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , Authentic corrections of FE

b. 40

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

 in A

 in GE

 in FE (→EE)
..

According to us, an earlier placement of the  hairpin in GE than in A is a result of carelessness of the engraver of GE1. Reversing the direction of the sign in FE (→EE) is probably a mistake too, however, in this case the sound result can be considered to be at least equal with respect to the original notation of A. In the main text we leave the undoubtedly authentic sign of A, yet the version of FE can be considered a fully-fledged performance variant.

category imprint: Differences between sources

issues: Inaccuracies in GE , Sign reversal , Authentic corrections of FE

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
..

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

Third c1-e1 in A, FE (→EE) & GE2

Only e1 in GE1
..

The engraver of GE did not notice the c1 notes on the 3rd and 5th quavers in A and he placed the  written before the 1st of them before e1. Chopin corrected this mistake in FE (→EE), however, the unnecessary  remained in all editions except for GE2.

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Authentic corrections of FE , Uncertain notes on ledger lines