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b. 463-464
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composition: Op. 21, Concerto in F minor, Mvt III
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According to us, the minor differences in the notation between these bars and analogous bars 423-424 do not indicate a different performance. Reducing the number of performance markings when repeating similar fragments is a quite frequent phenomenon in Chopin's music; it does not have to be an inaccuracy – cf. e.g. the note to bars 200-206 in the Bolero, op. 19. However, in the case of the additional crotchet stems for the c1 notes, a reason for their omission (and the pedalling markings) could have been simply haste. Due to this fact, in the main text we suggest holding the bass note, as marked by Chopin for the first time. category imprint: Editorial revisions |
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b. 463
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composition: Op. 21, Concerto in F minor, Mvt III
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The missing pedalling may be related to distraction due to the transition into a new page in A – cf. the adjacent note. Due to this reason, in the main text we suggest adding markings on the basis of analogous bar 423. category imprint: Editorial revisions |
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b. 464
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composition: Op. 21, Concerto in F minor, Mvt III
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The missing dot extending the c1 crotchet is most probably a result of an oversight of the engraver of FE (→EE). category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 466
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we suggest adding an arpeggio mark. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 466
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composition: Op. 21, Concerto in F minor, Mvt III
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The natural before b2, the 4th quaver, is present only in EE and GE2; however, due to the use of an octave sign, we consider the sound of this note to be specified also in the remaining sources. Similarly in bar 468. category imprint: Differences between sources; Source & stylistic information issues: EE revisions , Accidentals in different octaves , GE revisions |
] suggested by the editors
