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b. 64-69
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composition: Op. 21, Concerto in F minor, Mvt II
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In the final section of the recitative, embracing these bars, Chopin omitted the majority of indications of the irregular groups in A (→GE1) – he only wrote a '7' over the part of the R.H. in bars 65 and 66. In the remaining editions, additions in this respect were performed, and we consider the digits added in FE (→EE) in bar 64 ('12') and 69 ('21') to be authentic. GE2 added all formally necessary markings. We introduce additions also in the main text, apart from brackets in obvious situations (graphically separated triplets and markings omitted in the L.H. only). The only less obvious situation – in bar 64 – is discussed separately. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , Authentic corrections of FE |
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b. 64
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composition: Op. 21, Concerto in F minor, Mvt II
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FE omits the cautionary category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Cautionary accidentals |
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b. 64
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composition: Op. 21, Concerto in F minor, Mvt II
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The structure of the eight-note figure on the 4th beat of the bar was not specified with digits in A (→GE1→FE→EE). According to us, there is no doubt that the layout is to be the same as in bar 62, in which most probably authentic markings were added in the proofreading of FE. A different understanding of this figure was marked with the number '11' in GE2. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 64
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composition: Op. 21, Concerto in F minor, Mvt II
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The slurring of the first three beats of the bar constitutes a difficult editorial problem. The absence of signs in A must be considered an inaccuracy – it is the only recitative's fragment that is devoid of slurs. The addition of slurs in GE1 was most probably inspired by Chopin, yet due to the differences between the hands it is hard to assume that they exactly correspond to his intention (a rational attempt at interpreting the intention may be the slurs of GE2). The overlooked slur in the R.H. in FE may also indicate Chopin's proofreading – perhaps its aim was to achieve such slurs as in EE. If in bar 64 the version with harmonic accompaniment was chosen, the version without slurs or one of the versions with slurs in the R.H. only is to be selected here. category imprint: Differences between sources issues: Authentic corrections of FE , Authentic corrections of GE |
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b. 64-65
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composition: Op. 21, Concerto in F minor, Mvt II
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In A both slurs are led to the beginning of bar 65; in spite of this, GE (→FE→EE) embraced only the 4th beat of bar 64 with them. In the main text, we preserve the notation of A. category imprint: Differences between sources issues: Inaccuracies in GE |
before g.
