mUltimate Chopin

Op. 21, Concerto in F minor, Mvt II

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b. 29

composition: Op. 21, Concerto in F minor, Mvt II

Fourth a-d1 in A, FE (→EE) & GE2

Sixth f-d1 in GE1
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The sixth in GE1 is a clear example of a Terzverschreibung error, corrected by Chopin in FE (→EE). The correct version was introduced also in GE2.

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Authentic corrections of FE

b. 33

composition: Op. 21, Concerto in F minor, Mvt II

No octave in the sources

Octave suggested by the editors
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At the beginning of the bar A (→GE→FE→EE) does not have the 8 digit, marking the bottom note of the octave, E1. Since at the first appearance of this phrase in bar 14 Chopin added it in A, it is highly likely that the addition could be applied also here: omitting one (or more) of repeating places at the time of proofreading would often happen to Chopin in various works. It is worth remembering that, writing the Concerto in Warsaw, Chopin did not have the E1 sound at his disposal, since the scale of his piano reached to F1 only. Cf. bar 82 and 89.

 

category imprint: Editorial revisions

b. 39

composition: Op. 21, Concerto in F minor, Mvt II

Grace note b2 in A, FES & GE2

a2 in GE1 (→FE→EE)
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The version with the a2 grace note present in GE1 (→FE→EE) is almost certainly a mistake, which is confirmed by the correction of this note written in FES. The version of A was restored also in GE2.

category imprint: Differences between sources

issues: Annotations in teaching copies , Errors in FE , Errors in EE , Errors in GE , GE revisions , Annotations in FES

b. 40

composition: Op. 21, Concerto in F minor, Mvt II

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In the sources the  returning d2 is missing both before the last demisemiquaver and the next two notes at that pitch. Chopin's oversight is undeniable, yet if we were to evaluate the sound only, one can ponder whether the  was supposed to be already before the last demisemiquaver or only before the dotted quaver in the middle of the bar. From the psychological point of view, the second possibility is much more likely: it is hard to assume that Chopin would have forgotten an accidental differentiating two adjacent notes in a chromatic passage. 

category imprint: Interpretations within context; Editorial revisions

issues: Errors in FE , Errors in EE , Omissions to cancel alteration , Errors in GE , Errors of A

b. 40

composition: Op. 21, Concerto in F minor, Mvt II

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On the 3rd beat of the bar A does not have flats lowering c1(2) to c1(2), which is Chopin's patent oversight: the A minor key is valid already from bar 37 and in the discussed bar it was confirmed by a  before the top most note of the passage in the 1st half of the bar. The sign in the R.H. was added already in GE (→FE→EE), whereas the  in the L.H. was added only in GE2. 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Accidentals in different octaves , GE revisions , Omission of current key accidentals , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE