mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

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b. 491

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

b in chord in A & GE2

No b in GE1 (→FE→EE)
..

The missing b in the chord on the 2nd crotchet is almost certainly a mistake of the engraver of GE1 (→FE→EE). The note was added in GE2 on the basis of the clear notation of A.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 491

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

c1 in chord in A (→GE) & EE2 (→EE3)

No c1 in FE (→EE1)
..

The missing c1 bass note in the chord must be a mistake of FE (→EE1). The mistake was corrected in EE2 (→EE3), most probably on the basis of comparison with GE1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE

b. 492

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

f-a in [ReF]

e in Morch

e-b in A (contextual interpretation→GE→FE1→EE)

f-b in FE2
..

The tonic chord in the second inversion in [ReF] must be the original version of this quaver, eventually rejected by Chopin, since all the remaining sources feature a dominant chord in this place. According to us, the corrections introducing a new concept in the orchestral part were not entirely controlled by Chopin, which manifested itself in the omission of the seventh in Morch among others. However, the seventh is present in the piano reduction of A and in all editions. In the last phase of proofreading of FE2, the composer introduced another change, replacing the third of the chord with a transitory fourth. We include the latest, probably final, version in the main text.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations

issues: Foreign hand additions in manuscripts , Errors of A , Accompaniment changes , Authentic corrections of FE , Authentic corrections of GE

b. 492

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

g-b in [ReF] & A (contextual interpretation)

g in A (literal reading→GE→FE→EE)

e-b in Morch
..

When interpreted literally, the last crotchet in the L.H. in A includes only three notes, c-g-c1. It is most probably a mistake, resulting from b and c1 merging into one note. This assumption is confirmed by such a sound of the chord in [ReF]. This empty sounding version was repeated in all editions. As the version of Morch, we give a chord in a format adopted by Chopin in the previous chords, corresponding with its harmonic content to the full chord in the orchestra. According to us, it is the most naturally sounding version in this context due to the use of a full four-note seventh chord, hence we adopt it to the main text. 

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Errors of A

b. 493-494

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

..

A lacks in the Solo marking, which most probably resulted from haste – this otherwise obvious marking is present both in Morch and GE (→FE→EE). Due to a misunderstanding of the notation of GE1, the marking was placed in FE (→EE) over bar 493.

category imprint: Differences between sources; Editorial revisions

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