mUltimate Chopin

Op. 21, Concerto in F minor, Mvt II

Text Compare Notes Sources Description

Issues : Last key signature sign

b. 41

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

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All sources include an unjustified in this context  before the g1 grace note.

category imprint: Editorial revisions

issues: Cautionary accidentals , Last key signature sign

b. 52

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

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In A there are no accidentals before the 11th semiquaver (in both hands), as a result of which both here and two notes later one should read an a(1). Chopin's patent oversight was corrected in all editions.
A cautionary  before the 12th semiquaver – g(1) – is written in A only in the R.H. This inaccuracy was also corrected in the editions.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , GE revisions , Cautionary accidentals , Last key signature sign

b. 55

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

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In A there are no naturals raising g1(2) to g1(2). It is undoubtedly an oversight, corrected already in GE (→FE→EE).

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Errors of A , Authentic corrections of GE , Last key signature sign

b. 62

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

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The notation of accidentals is less careful in this bar. The oversight of the  lowering g to g in the group of 9 notes in the L.H. in A is a patent mistake; the sign was already added in GE1 (→GE2,FE→EE). In some of the sources, the missing  before the 2nd note in the L.H. on the 4th beat of the bar results from a different convention of accidentals' validity – in A Chopin deleted this sign, considering the  before the crotchet on the 3rd beat to be valid. In turn, the absence of flats lowering g1(2) to g1(2) on the 4th beat in A (→GE→FE) is a patent oversight – the fact that Chopin must have heard the g here is supported by the notes' uninterrupted presence from the end of bar 57 and by the use of cautionary naturals before G and g at the beginning of bar 64. It is only EE that includes the fully correct notation, consistent with the contemporary conventions.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: EE revisions , Corrections in A , GE revisions , Omission of current key accidentals , Last key signature sign

b. 69

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

g1(2) in A (→GE1→FE)

g1(2) in EE & GE2

Idem, R.H. only
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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