|
b. 69
|
composition: Op. 21, Concerto in F minor, Mvt II
..
The missing flats before the penultimate demisemiquaver, in spite of their presence in all authentic sources, is almost certainly Chopin's mistake. Descending augmented seconds in scale passages do appear in his works (e.g. in bars 40 and 43), but not in a situation when the upper note of an augmented second would constitute a turning point of a figuration – cf. corresponding places in bars 28, 42 or 65. If in bar 64 the version with harmonic accompaniment was chosen, the first or third version is to be selected here. category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , Last key signature sign |
||||||||
|
b. 69-70
|
composition: Op. 21, Concerto in F minor, Mvt II
..
When interpreted literally, the slur beginning in the half of bar 69 reaches the 2nd grace note in bar 70, which, however, cannot be musically explained, since the grace notes constitute the beginning of a trill. Therefore, we assume that it reaches further, to the trilled minim e category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions |
||||||||
|
b. 70
|
composition: Op. 21, Concerto in F minor, Mvt II
..
In the main text we add cautionary naturals over the trills. category imprint: Editorial revisions |
||||||||
|
b. 71-72
|
composition: Op. 21, Concerto in F minor, Mvt II
..
The slur over the pair of thirds could have been added in the proofreading of GE1 by Chopin, although a mistake of the engraver cannot be entirely excluded (at the beginning of bar 72 the top part of the F letter can be regarded as a short slur). category imprint: Differences between sources issues: Authentic corrections of GE |
||||||||
|
b. 71
|
composition: Op. 21, Concerto in F minor, Mvt II
..
It is difficult to state whether the notation of A is a result of a mistake or a kind of a compromise suggesting, on the one hand, a long fading out of this third and, on the other hand, a lack of need to actually sustain it with fingers (thanks to pedalling). In the main text we include later changes of GE1 (an added slur) and FE (the minim changed to a semibreve), both probably authentic. In GE2 the minim third of flutes was placed after the trilled note of the piano, as if it were to be played only in the middle of the bar, which is certainly contrary to Chopin's intention. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Authentic corrections of FE |
1(2) in 
