Issues : EE inaccuracies
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b. 7-8
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composition: Op. 21, Concerto in F minor, Mvt II
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In A the vast majority of the beginnings of the slurs in the L.H., both in the figures embracing the whole bar and in the half-bar ones, does not include the bass note, usually provided with a staccato dot. Despite the fact that Chopin would not always put them precisely (e.g., a slur in bar 8), their systematical reproduction in GE1 (→FE→EE) as whole- or half-bar rather does not correspond to his intention (cf. the characterization of GE1), which was noticed in GE2. category imprint: Differences between sources issues: Inaccuracies in GE , EE inaccuracies |
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b. 33
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composition: Op. 21, Concerto in F minor, Mvt II
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Both versions of the slur, appearing in the editions, are almost certainly inauthentic. The version of GE1 (→FE) is most probably simply inaccurate, similarly the version of EE. In turn, in GE2 it is probably an attempt to reinterpret the notation of A while taking into account the Chopin notation of analogous bars 14 and 82. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions , EE inaccuracies |
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b. 40
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composition: Op. 21, Concerto in F minor, Mvt II
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The long accent present in FE may be a result of carelessness of the engraver of FE, however, Chopin's proofreading cannot be excluded, particularly taking into account the fact that an identical situation occurs a half bar later. In the main text we adopt a long accent both here and in bar 41. category imprint: Differences between sources issues: EE inaccuracies , Authentic corrections of FE |
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b. 41
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composition: Op. 21, Concerto in F minor, Mvt II
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The long accent could have been introduced in FE by Chopin (cf. bars 39-40), hence we adopt it to the main text. category imprint: Differences between sources issues: Long accents , EE inaccuracies , Authentic corrections of FE |
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b. 52
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composition: Op. 21, Concerto in F minor, Mvt II
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In the main text, we give articulation signs written by Chopin in the part of the R.H. in A. Taking into account the notation of the entire first section of the recitative (bars 45-57), we suggest adding these indications also in the L.H. (a similar revision was performed in EE3). GE homogenised the staccato signs, replacing wedges with dots, and added a superfluous accent on the last note. In FE (→EE) the inaccuracies aggravated – staccato signs of e If in bar 45 the version with the harmonic accompaniment was chosen, one of the versions with signs in the R.H. is to be selected here. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
2 and d