mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

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b. 419-420

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

Slur in A

3 slurs in GE1

2 slurs in FE (→EE) & GE2
..

The division of the clear slur of A into 3 parts is an example of a far-reaching carelessness showed towards the Chopinesque slurring in GE1. In turn, it is unclear whether the combination of the first two of these slurs in FE (→EE) is a result of a mere inaccuracy or of a conscious decision of the engraver. GE2 includes the same slurs, which was undoubtedly done on purpose in this case – the slurring was introduced in all analogous places.

category imprint: Differences between sources

issues: Inaccuracies in FE , Errors in GE , GE revisions

b. 420-421

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

Slurs in A (contextual interpretation) & GE2

Slurs in GE1 (→FE→EE)
..

In A bar 420 is the last one on the page, whereas the slur written with a flourish clearly indicates continuation in the next bar. However, there is no ending of this slur in bar 421, which could have reassured the engraver of GE1 of his whole-bar approach (moreover, the traces of corrections visible in bars 420 and 421 suggest that each of these bars was initially encompassed with one slur; the erroneous division of the slur at the beginning of bar 421 was then corrected – perhaps by Chopin – to the version compliant with A). In GE2, Chopin's intention contained in A was reproduced correctly.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions , Corrected slurs of Op. 21 in GE1

b. 420

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

Long accent in A (→GE1)

Short accent in FE (→EE)

 in GE2
..

In this place, the long accent was reproduced in GE1 correctly, yet in FE (→EE) it was replaced with a common short accent, whereas in GE2 – with a  hairpin, of the same length as in bar 412.

category imprint: Differences between sources

issues: Inaccuracies in FE , GE revisions

b. 422

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

Fifth in A & GE2

Third in GE1 (→FE→EE)
..

The version of A with the b-f1 fifth is most probably a remaining element of an earlier version of this bar, with d as the bass note (see the previous note). In GE1 (→FE1) Chopin introduced a third instead of the fifth; however, the proofreading was performed inaccurately, forgetting about the  before the bottom note. FE2 tried to correct this mistake, yet the added sign was misplaced before the top note. The correct text appears just in EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors resulting from corrections , Authentic corrections of FE

b. 422

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

..

In the sources, the cautionary  at the beginning of the bar is before B in the bass, yet it is absent before b2 in the R.H., where it is more justified. It seems that Chopin did not combine these two elements:

  • the sign in the R.H. did not seem to be necessary, same as the  returning g2 on the 3rd beat of this bar was overlooked – Chopin heard and wrote both voices independently.
  • the sign in the L.H. was copied while correcting this note from the original d, which makes it a momentum error – the correction is proved by a visible deletion of this note (see also corrections in analogous bars 461-462).

In the main text we remove the  in the L.H. and add it in the R.H.

category imprint: Editorial revisions; Corrections & alterations

issues: Corrections in A , Cautionary accidentals , Last key signature sign