b. 43
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composition: Op. 21, Concerto in F minor, Mvt II
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Chopin deleted the appassionato indication over the group of demisemiquavers in A, keeping it for the entrance of the theme in bar 45. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 44-45
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composition: Op. 21, Concerto in F minor, Mvt II
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The fingering written in FED does not concern the version with the harmonic accompaniment in the L.H. written in FES. category imprint: Differences between sources |
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b. 44
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composition: Op. 21, Concerto in F minor, Mvt II
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The range of the slur over the orchestral motif is unclear in A: the slur indeed reaches above the beginning of the solo piano passage, yet its shape does not suggest leading it to the 4th beat of the bar. In the main text we adopt the interpretation of GE (→FE→EE), compatible with the slurs of Morch and more natural due to a rapid change of register. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 44
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composition: Op. 21, Concerto in F minor, Mvt II
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The addition to the orchestral part's piano reduction suggested by us is based on the similarity of the harmonic scheme of bars 42-43 and 43-44 (excluding the different bass progression on the 2nd beat of bar 42, all instruments have identical parts in Morch). However, since the demisemiquaver figures of the solo part are not identical, the analogy is not strict and the use of a solitary a1 in bar 44 could have been intended by Chopin. category imprint: Editorial revisions |
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b. 44
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composition: Op. 21, Concerto in F minor, Mvt II
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The missing dynamic sign for the orchestral part's reduction is most probably an oversight of the engraver of GE1 (→FE→EE). category imprint: Differences between sources issues: Errors in GE |