mUltimate Chopin

Op. 21, Concerto in F minor, Mvt II

Text Compare Notes Sources Description

Issues : Omission of current key accidentals

b. 21

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

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In A there are no naturals raising d3(2) to d3(2). Chopin's patent oversight was corrected (perhaps by himself) already in GE (→FE→EE).

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals , Errors of A , Authentic corrections of GE

b. 22

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

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In A the naturals raising d 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 GE1 (→FE→EE, →GE2) a  raising d3 to d3 at the beginning of the 3rd beat of the bar was added (referring also to d4), but only EE and GE2 include a corresponding sign before the penultimate semiquaver.

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

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

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