mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

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b. 476-477

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

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In A, Chopin wrote only two naturals in this place – before the 2nd quaver in bar 476 and before the bottom note of the 1st quaver in bar 477. The missing signs before the 1st octave in the L.H. in bar 476 are the only case in the entire fragment in which the first occurrence of a note in a bar was not marked correctly. It probably indicates that the part of the L.H. was written after the passages in the R.H., hence the first b Chopin encountered while writing was the 2nd quaver, written on the bottom stave. Considering that the  is valid also for the topmost note in the L.H., all necessary naturals were added already in GE (→FE→EE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Omission of current key accidentals , Errors of A

b. 478-479

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

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Just like in the previous passages, Chopin wrote the necessary accidentals in A only in the first triplet in each bar. All necessary signs, including the cautionary  before f3 in bar 479 were added in GE (→FE→EE). Moreover, GE2 added two more cautionary naturals before f2 and f. In the main text, we omit the latter.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 478

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

Fingering digit in A & GE2

No fingering in GE1 (→FE→EE)
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Omission of this 'one' in GE1 (→FE→EE) probably resulted from it having been considered a consequence of an accidental quill movement.

One can ponder why Chopin indicated fingering only in the fifth similarly structured passage. It could have been related to tucking the thumb under on a black key in a situation when the previous passage included white keys only (in bar 472 the position of the thumb on the black key was forced already in the previous bar).

category imprint: Differences between sources

issues: Errors in GE

b. 478

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

Shorter  in A

Longer  in GE (→FE→EE)
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Extending the  hairpin to the end of the bar, like it was done in the editions, seems to be justified by the general direction of the passages and by analogy to the mark in bar 476, led in such a way in A. However, in the main text we reproduced the notation of A, which, not excluding the climax of the passage at the beginning of the next bar, may also suggest a more pronounced accentuation of the 3rd beat of the bar as including the locally topmost note (in bars 478-479). See also bar 480.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 479-480

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

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The overlooked accidentals in A before the top notes of the second octaves in the L.H. were added already in GE (→FE→EE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A