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b. 505-506

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

Slurs in A, possible interpretation

Slurs in GE & EE

Slurs in FE

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In A bar 505 is the last one on the page and the slurs in this and the next bar do not fit together – the slur in bar 505, although it does not go beyond the bar line, suggests continuation, whereas in bar 506 a new slur clearly begins. In this situation, the version of GE is most probably a result of Chopin's proofreading, since it seems to be unthinkable that the engraver of GE1 would have interpreted the slurs of the base text in this way on his own initiative. This conclusion is confirmed by the traces of corrections of this slur in print, visible in bar 504, cluster of the slur with the  mark in bar 506 and an earlier ending of the slur in FE, perhaps corresponding to the slur of GE1 prior to the final proofreading. The ending of the slur of EE reaching the beginning of bar 506 seems to be inaccurate, yet it can be a result of a revision.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Inaccurate slurs in A , EE inaccuracies , Authentic corrections of GE

b. 506

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

Staccato dots in A & GE2

No marks in GE1 (→FEEE)

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The missing staccato dots over the 4th and 7th quavers in GE1 (→FEEE) must be an oversight. The signs were added in GE2

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 506-510

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

No markings in A

L.H. dots & slurs in GE1 (→FE)

L.H. slurs & dots in EE

L.H. slurs & dots in GE2

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In the Chopinesque notation, the articulation markings placed over the part of the R.H. are binding also for the L.H. in this context. Due to this reason, we give this undoubtedly authentic notation of A in the main text. At the same time, it is consistent, since the passage in bars 503-505 also has a slur only over the R.H. On the other hand, the authenticity of the slurs and dots added in GE1 (→FEEE) cannot be entirely excluded, since such separate markings for the L.H. were also sometimes used by Chopin. The fact that the markings appear at the beginning of the bar and not from the moment of the R.H. passing to the upper stave suggests, according to us, that the additions were performed by the reviser.
In FE, the markings of the L.H. were reproduced with minor inaccuracies in bars 507-508. The irregularities were removed in EE, in which a slur leading to the 1st note in bar 507 was added. The marks added in GE2 in bar 506 cannot be authentic.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 507-509

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

Dashes in A & GE2

No dashes in GE1 (→FEEE)

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Just like in bars 498-501, GE1 (→FEEE) overlooked the dashes marking the range of the dynamic change.

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions

b. 508-509

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

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In FE, there are no slurs over six quavers, from c3 to a3. The patent mistake was corrected in EE. Similar mistakes in articulation markings were committed also in the L.H., in bars 507-508.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE