Issues : Inaccuracies in GE
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b. 19-20
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composition: Op. 21, Concerto in F minor, Mvt II
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In the main text we give two long accents under the chords ending these bars, since all deviations from this notation present in the editions are a result of inaccuracies or arbitrary revisions. category imprint: Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , GE revisions |
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b. 20
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composition: Op. 21, Concerto in F minor, Mvt II
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The editions do not include a wavy line after the category imprint: Differences between sources issues: Inaccuracies in 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 the main text we give the motivic slurs of A, whose authenticity is unquestionable. The slurs of the editions, being probably a result of carelessness and routine approach of the engraver of GE1, could have been then accepted by Chopin. category imprint: Differences between sources issues: Inaccuracies in 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 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. 22
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composition: Op. 21, Concerto in F minor, Mvt II
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Contrary to the notation of A, accents in GE1 are of a varied length. The signs in FE are not equivalent, yet the difference seems to be unimportant; we interpret them as short (short accents are also in GE2). All those differences are undoubtedly of an accidental character. In EE both signs were reproduced as vertical accents and such an accent was added over the chord on the 4th beat of the bar. Cf. notes on accents in the R.H. in this and next bar. category imprint: Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE |
sign, which most probably resulted from lack of space for this sign in 
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 
raising d
