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b. 270-272
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composition: Op. 21, Concerto in F minor, Mvt III
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The omission of the 2nd accent in bar 272 in GE1 (→FE) must be an oversight. The accents in FE are placed inaccurately – the second one in bar 270 can be interpreted to apply to the 7th quaver, whereas the sign in bar 272 was placed under the 3rd note in the bar. In EE the 2nd accent in bar 272 was added, yet it was placed under the 1st note of the triplet, analogously to the one in bar 270. Both remaining accents were arbitrarily changed to vertical ones. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in GE |
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b. 272
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composition: Op. 21, Concerto in F minor, Mvt III
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In A Chopin wrote in the part of the R.H. the text of the next bar by mistake. Having noticed the error, he crossed out the bar and wrote the correct text on an adjacent stave. category imprint: Source & stylistic information issues: Corrections in A |
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b. 273
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composition: Op. 21, Concerto in F minor, Mvt III
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According to us, the absence of the accent over the g category imprint: Editorial revisions |
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b. 278-280
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composition: Op. 21, Concerto in F minor, Mvt III
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The omission of the last accent in bar 280 in GE1 must be a mistake. The accent was added in FE, yet it was placed inaccurately, as a result of which it is uncertain whether it applies to the 2nd or the 1st quaver of the triplet (the 1st accent in bar 278 in FE is even more inaccurate; we interpret it to apply to the 1st quaver in the bar). In EE, three out of four accents were put a quaver earlier, on the 1st or 7th note in the bar, which is a mistake. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in GE , GE revisions |
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b. 281
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composition: Op. 21, Concerto in F minor, Mvt III
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In FE the 1st note was printed at the right pitch, yet without a ledger line. category imprint: Source & stylistic information issues: Inaccuracies in FE |
1 minim may be considered an inaccuracy of Chopin's notation. Both the accent in analogous bar 265 and the one suggested here form part of the elements co-creating the air of the virtuoso brilliance of these passages.
