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Op. 21, Concerto in F minor, Mvt III

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b. 337-340

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

8– – ¬ to bar 340 in A (→GE1), contextual interpretation & in EE2

No 8– – ¬ in FE (→EE1), GE2 & EE3

8– – ¬ over octave in bar 337, suggested by the editors
..

According to us, Chopin did not want these bars to differ from analogous bars 13-16, although there is no corresponding version in any of the sources. The first cause of such a state of affairs was a possible mistake committed by Chopin in A – an unnecessary extension of the line determining the range of the octave sign beyond the 2nd crotchet in bar 337. However, the correction of this error in FE (→EE1) – elimination of the entire octave sign – also removed the characteristic leap to the f3-f4 octave, which, due to its important role in the entire 3rd mov. of the Concerto, could not possibly be intended by Chopin. Therefore, the version of FE is most probably not entirely correct. The situation is even more obscure due to minor, obvious mistakes, e.g. no ending of the octave sign in bar 340 in A (assuming its correctness) and embracing the 1st crotchet in bar 337 in GE1 with the octave sign. In later editions, one of the previous versions was introduced arbitrarily, which does not influence the determination of the text in any way.  

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors in GE , GE revisions , Errors of A , Authentic corrections of FE

b. 339

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

..

In the main text we add cautionary flats before e1(2). 

category imprint: Editorial revisions

b. 340

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

Only f in solo part in A & GE2

Octave in solo part in GE1 (→FE→EE)

Only f in solo part suggested by the editors
..

The inclusion of the bottom note of the octave (F) to the solo part is certainly a result of a mistake of the engraver of GE1 (→FE→EE) who printed it in a font of a normal size. Chopin also contributed to the mistake, using a simplified, one-voice notation of this octave (differently than in bar 16). Cf. bars 30-32. 

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions

b. 340-341

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

Long accent in A

No mark in GE1 (→FE→EE)

Short accent in GE2
..

The missing accent in GE1 (→FE→EE) is almost certainly a mistake – the engraver most probably interpreted this sign as a tie of f1. An accent (short) was added in GE2, yet the tie was not omitted.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 340-341

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

f1 repeated in A

f1 tied in GE (→FE→EE)
..

According to us, the most likely explanation of the presence of the tie of f1 in the editions is the engraver of GE1 having mistaken the accent for a tie (other possibility is moving the slur written in A over the top voice under the stave). Chopin did not use any of a few opportunities to extend a common note of chords in the entire Tutti (also in the exposition, bars 16-24).

category imprint: Differences between sources

issues: Errors in GE