mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

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b. 16-17

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

Slur from bar 17 in A

Slur from bar 16 in GE (→FE→EE)
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In A, starting the slur from bar 17 is most probably an inaccuracy, being a result of the transition to a new page. It was corrected in GE (→FE→EE); the traces of correction in print are clearly visible. At the same time, one can see that the slur in GE1 originally encompassed bars 17-19, which was changed to a slurring that was not only compliant with A, but also correcting the inaccuracy of the manuscript. In this case, the authenticity of this correction is unquestionable.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE , Corrected slurs of Op. 21 in GE1

b. 16

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

Octave in A & GE2

Only f in GE1 (→FE→EE)
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Omitting the F note at the beginning of the bar in GE1 (→FE→EE), representing the cello part, is certainly an oversight of the engraver.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 18-24

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

No marks in sources

Staccato dots suggested by the editors
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The staccato signs written above the R.H. in bars 18 and 20 are binding also for the L.H. The dots written between the staves in bar 24 can be considered to be referring to the parts of both hands – in analogous bar 348 dots in A are written separately for each of the hands. In order to avoid doubts, in the main text we suggest adding signs in the L.H.

category imprint: Editorial revisions

b. 19

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

e2 in A (→GE→FE1→EE)

e2 in FE2
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The  raising e2 to e2 added in FE2 almost certainly indicates a change of concept by Chopin. The original sound of e2 is confirmed not only by A, but also by Morch – in the parts of 1st violin, oboe and clarinet; moreover, violas include e1 (e1 in the 2nd French horn part is certainly a mistake). It is striking that the change was not included in EE, which means that it was introduced in the last phase of proofreading FE2. Similarly in analogous bar 343. 

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 20

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

..

In A there is a visible deletion of the original version with the dotted rhythm in the top voice. Moreover, in the first out of three written versions of the ending of the bar, the middle note of the chord was a g2. Cf. analogous bar 344.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A