Issues : Authentic corrections of GE
b. 15
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composition: Op. 21, Concerto in F minor, Mvt II
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The slur featured in GE (→FE→EE) may seem superfluous in the face of the legato indication. However, in works by Chopin one can encounter undoubtedly authentic juxtapositions of this kind, e.g. in the Nocturnes in G minor, Op. 37 No. 1, bar 1 or in F minor, Op. 55 No. 1, bar 77. Due to this fact, we give the slur in the main text (as probably added by Chopin). Similarly in bar 83. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of GE |
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b. 17
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composition: Op. 21, Concerto in F minor, Mvt II
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In this case, it is hard to state how the discrepancies between the slurring of A and GE1 (→FE→EE) occurred. Although one cannot see traces of a possible Chopin proofreading in print, it does not mean such a possibility is definitely excluded. On the other hand, an arbitrary change of the engraver, whose result is compatible with Chopin slurring of the repetition of this phrase in the ending (bars 85-86), seems to be highly unlikely. Therefore, both versions may be considered equal; to the main text we adopt the one whose authenticity remains beyond any doubt, i.e. A (and GE2). category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE |
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b. 21
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composition: Op. 21, Concerto in F minor, Mvt II
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In A there are no naturals raising d3(2) to d3(2). Chopin's patent oversight was corrected (perhaps by himself) already in GE (→FE→EE). category imprint: Interpretations within context; Differences between sources issues: Omission of current key accidentals , Errors of A , Authentic corrections of GE |
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b. 22
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composition: Op. 21, Concerto in F minor, Mvt II
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In A the naturals raising d notes to d are written only on the 4th beat of the bar. In spite of this, there are no doubts that d is required in the entire 2nd half of the bar. In GE1 (→FE→EE, →GE2) a raising d3 to d3 at the beginning of the 3rd beat of the bar was added (referring also to d4), but only EE and GE2 include a corresponding sign before the penultimate semiquaver. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Accidentals in different octaves , Inaccuracies in GE , Inaccuracies in FE , GE revisions , Omission of current key accidentals , Errors of A , Authentic corrections of GE |
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b. 25
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composition: Op. 21, Concerto in F minor, Mvt II
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The chord written in A, although acceptable from the harmonic point of view, is almost certainly erroneous due to its sonically unjustified piano complication. However, it remains unclear which chord Chopin meant:
In any case, the proofreading of GE1 (→FE→EE), probably coming from Chopin, must be considered to be the final decision and this is the version we give in the main text. category imprint: Interpretations within context; Differences between sources issues: Terzverschreibung error , GE revisions , Errors of A , Authentic corrections of GE , Partial corrections |