mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 119

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

g2 in A

e2-g2 in GE (→FE→EE)
..

The missing e2 on the penultimate quaver in the bar is almost certainly Chopin's mistake, corrected by him in GE (→FE→EE).

category imprint: Differences between sources

issues: Authentic corrections of GE

b. 120

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

..

In the main text we omit cautionary flats before d2 and d1, unnecessary in this context, written in A and repeated in all editions.

category imprint: Differences between sources

issues: Cautionary accidentals , Last key signature sign

b. 122

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

..

The cautionary flats before B and b at the beginning of the bar were added in the proofreading of FE (→EE). It seems to be likely that it was done by Chopin, who introduced cautionary flats before e and e1 in an analogous situation in the next bar already in A.

category imprint: Differences between sources

issues: Cautionary accidentals , Authentic corrections of FE

b. 124

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

g1(2) in A (→GE)

g1(2) in FE (→EE)
..

In the main text, we give g1(2) as the 4th quaver in bar 124, introduced by Chopin in the proofreading of FE (→EE). The composer also took care of cautionary naturals before g2(3) in the next bar. The version of A (→GE) is most probably erroneous – if Chopin wanted to have a g1(2) in this place, he would have probably used the diminished chord B-e-g-d1 in the orchestral accompaniment.

 

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 125-129

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

No L.H. slurs in A

Slur in bars 125-126 in GE1 (→FE)

2 slurs in bars 125-128 in EE

Slur in bars 125-129 in GE2
..

According to us, the slur in the L.H. in bars 125-126, present in GE1 (→FE→EE), could have been added by Chopin. It is indicated by corrections of the slurs in the R.H. – if it were Chopin who ordered to combine the slurs in the R.H. at the transition between those bars, he could have also added a slur in the L.H., as if to emphasise that the one-bar slurs from bars 121-124 are no more valid here. EE added also a slur in bars 127-128 (after the slur the edition has in the R.H.). The slurring of both hands was homogenised also in GE2. In the main text we preserve the notation of A, since the slurs of EE and GE2 are certainly arbitrary, whereas the slur added in GE1, even if it comes from Chopin, is probably to be related to the corrections of the erroneous slurs in the R.H.

category imprint: Differences between sources

issues: EE revisions , GE revisions , Authentic corrections of GE