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Op. 21, Concerto in F minor, Mvt III

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b. 426-428

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

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It is only GE2 that includes a natural before b2, the 4th quaver in bars 426 and 428; however, due to the use of an octave sign, we consider the sound of this note to be specified also in the remaining sources. 

category imprint: Differences between sources; Source & stylistic information

issues: Accidentals in different octaves , GE revisions

b. 428

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

No sign in A (→GE→FE→EE1→EE2)

Arpeggio sign in EE3

Arpeggio sign suggested by the editors
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We suggest adding an arpeggio mark in the main text, since the arpeggio written in A in bar 428 is, according to us, to be regarded as the model for all analogous bars (including 466 and 468). The wavy lines were added already in EE3.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 428

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

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Differently than in analogous bar 426, there is no cautionary  before b in A (→GE1→FE→EE), yet there is a  before e1, unnecessary in this context. In GE2, a  was added to the . In the main text we give a more logical notation, used by Chopin in bar 426 as well as in two analogous places (bars 466 and 468).
The sources include a superfluous  also before e3 in the R.H. Cf. bars 413-415.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals , Last key signature sign

b. 429-432

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

cresc. - - - - in A

cresc. in GE1 (→FE→EE)

cresc. - - in bar 429 in GE2
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Ignored dashes marking the range of cresc. is a frequent inaccuracy of the first Chopinesque editions. The fact that GE2 added dashes only in bar 429 may be explained by an inaccuracy (it is the last bar on the page in GE2 – cf. bars 469-474). However, further dashes may have been thought to be contrary to the   hairpins.

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions

b. 429

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

Long accent in A, probable interpretation

 in A (possible interpretation→GE→FE→EE)
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It is unclear whether Chopin had a long accent in mind, emphasising the last chord of the cadence, or a short , related to the passage opening the four-bar, wavy sequence. In the main text we favour the first interpretation.

category imprint: Graphic ambiguousness

issues: Long accents