½A - Semi-autograph
Semi-autograph of the Concerto's score, prepared by Chopin together with an unknown copyist as the basis for GE1, probably in the 2nd half of 1835.
We distinguish two parts of ½A:
A – solo part with the piano reduction of Tutti sections, written in Chopin's hand;
Morch – parts of the orchestral instruments written by an unknown copyist, with Chopin's annotations.
GE - German edition
FE - French edition
Maurice Schlesinger, Paris, plate number M.S.1940:
FE1 – First French edition, August 1836,
FE2 – corrected impression of FE1, shortly after it.
Two pupil's copies of FE2 with annotations originating from Chopin:
FED – Camille O'Méara-Dubois copy,
FEJ – Ludwika Jędrzejewicz copy.
Pupil's copy of FE2, in this movement without annotations:
FES – Jane Stirling copy.
Filiacja źródeł
Additional source
ReF – Manuscript piano reduction of the orchestra part of mvts. II & III of the Concerto (lost, photocopy in Archiwum Akt Nowych, Warsaw), prepared by Julian Fontana, most probably on the basis of [SI]. In sections marked as Tutti, played by the orchestra alone, Fontana probably copied out the original draft of Chopin’s piano reduction, contained in [SI]. ReF makes possible to a significant degree the reconstruction of this lost source and of the directions of the changes made to the instrumentation of the Concerto during the period between the first performance of the work, in 1830, and its printing, in 1836.
Principles behind the main text of
the Concerto in F minor Op. 21, mvt III
As the basis we accept A, a source of unquestioned authenticity, very thoroughly prepared with a view to the publication. Moreover, we include in the main text the certain or highly probable Chopin's corrections in GE1, FE1 and FE2. We also take into consideration the annotations in pupils' copies, originating from Chopin.