mUltimate Chopin

Op. 21, Concerto in F minor, Mvt II

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 6-7

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

 to bar 7 in A

 in bar 6 in GE (→FE→EE)
..

The change of the range of the  sign is certainly an inaccuracy of GE (→FE→EE). In A one can see that Chopin deleted the hairpin written over the part of the R.H., having the same range as in the editions. The new sign was written under the group of demisemiquavers introducing the theme and led further on, to the e3 minim.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in GE , Corrections in A

b. 7-17

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

..

In A the presence of staccato dots over the bass notes in all figures of this type, both whole-bar (bars 7-8) and half-bar (bars 9-13, 15 and 17) is beyond any doubts, although one is missing (the second in bar 9, over B) and two other are placed over the notes that were deleted in the original version (the first in bars 10 and 15). In GE1 (→FE) the majority of them were omitted (only the dots in bars 8, 11-12 and 17 remained). EE and GE2 include versions close to the main text: in EE only the first dot in bar 13 is missing, while in GE2 – the one in bar 15.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , GE revisions

b. 13

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

 in A, more likely reading

 in A, less likely reading

No sign in GE (→FE→EE)
..

In view of the deletions in A one can understand that the engraver of GE (→FE→EE) omitted the  sign written there. However, the deletions clearly concern the L.H. part only, and not the hairpin, hence we include it in the main text. The range of the sign is also questionable, since the upper arm is clearly shorter than the lower one. It is a frequent situation in Chopin's autographs, however, generally it is the context or similar places that allow us to guess the composer's intention. In this case, leading crescendo makes sense both to the top most note of the passage and to the minim in the next bar: it is confirmed by the notation of analogous bars 32 and 81, in which the hairpin reaches the top most note in one case and the end of the bar in the other one. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in GE , Inaccuracies in A

b. 18

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

Lines & dots in A & GE2

Only dots in GE1 (→FE→EE)
..

Omission of tenuto dashes over three octaves in GE1 (→FE→EE), despite having been consistently carried out both in this bar and analogous bar 86, does not seem to be Chopin's proofreading. According to us, it could have been a result of the engraver's misunderstanding of the combination of three articulation indications: a slur, tenuto marks and staccato dots. A slur actually designates also phrasing, while dots under a slur were generally used by Chopin to mark a lighter and shorter non legato.
It is the only example of the use of tenuto marks by Chopin in a notation dedicated for print (dashes are also present in the Concerto in E minor, Op. 11, mvt. II, bar 47, and Ballade in G minor, Op. 23, bars 194-198, in both places added in a pupil's copy). 

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 19-20

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

2 long accents in A

2 short accents in GE1 (→FE)

3 different accents in EE

3 short accents in GE2
..

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