Rhythm
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b. 62
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composition: Op. 21, Concerto in F minor, Mvt II
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In A (→GE1) there are no digits specifying the number of notes in the irregular group consisting of 8 notes; however, they were added – probably by Chopin – in the proofreading of FE (→EE). In GE2, the entire group was marked with number 11, which, although theoretically possible, seems to be highly unlikely to be intended by Chopin – such a rhythm, quite unnatural and difficult to imagine in a strict way, practically differs very little from the version of FE (the differences in the length of the corresponding notes in both divisions do not exceed 10%). category imprint: Differences between sources issues: GE revisions , Authentic corrections of FE |
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b. 63
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composition: Op. 21, Concerto in F minor, Mvt II
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The group of notes on the 1st beat of the bar was not provided with a digit specifying the number of notes by Chopin. It was added only in GE2, by inserting a '6'. In the main text we recommend a '3', suggesting grouping semiquavers in twos in a clearer manner. If Chopin had heard semiquavers grouped in threes, he could have written the 1st note as a quaver without a dot. However, the discussed situation is far from being unambiguous, particularly given that in the proofreading of FE (→EE) the dot extending the quaver was removed (in the parts of both hands), which could have been performed by Chopin. Taking into consideration the fact that possible differences in performance are practically minimal, we regard each of the versions as acceptable. If in bar 53 the version with harmonic accompaniment was chosen, the second or third version is to be selected here. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Authentic corrections of FE |
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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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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. 67
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composition: Op. 21, Concerto in F minor, Mvt II
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The tie of e category imprint: Differences between sources issues: GE revisions |
1(2) repeated in 
