Issues : Authentic corrections of FE
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b. 485
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composition: Op. 21, Concerto in F minor, Mvt III
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The absence of a3 and a2 on the 1st and 4th quavers in the bar in GE must be attributed to an extremely inaccurate notation of A in this respect; according to us, Chopin did write these notes in that place, yet, being in haste, he did not check whether they are visible in the place where the stems overlap with ledger lines. The fact that both notes were added in the proofreading of FE (→EE) dissipates all doubts regarding the composer's intention. category imprint: Graphic ambiguousness; Differences between sources issues: Authentic corrections of FE , Uncertain notes on ledger lines , Inaccuracies in A |
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b. 486-487
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composition: Op. 21, Concerto in F minor, Mvt III
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There is no reason to doubt the authenticity of the accents added in the proofreading of FE (→EE) on c in bar 486 and on C in bar 487. In turn, it is not clear what kind of accents Chopin had in mind, since it is difficult to assume that he would have liked to differentiate between them. According to us, it is long accents that are more likely, since a shift of the shorter sign (in bar 486) may indicate that the accent written by Chopin was longer than the one printed in FE. However, it is only a suspicion, hence both the long accents suggested in the main text and the short accents in EE may be considered equal variants. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE inaccuracies , Authentic corrections of FE |
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b. 486
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composition: Op. 21, Concerto in F minor, Mvt III
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A (→GE1→FE1) features a d2 as the last quaver. At the same time, one can see that initially the entire last triplet was written a second lower – c category imprint: Interpretations within context; Differences between sources issues: Corrections in A , Errors resulting from corrections , GE revisions , Errors of A , Authentic corrections of FE |
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b. 492
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composition: Op. 21, Concerto in F minor, Mvt III
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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 |
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b. 504-508
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composition: Op. 21, Concerto in F minor, Mvt III
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In A Chopin wrote naturals before the last note in the bar in four places – e and e1 in bar 504, E in bar 505 and e3 in bar 508. Not only did GE1 repeated these signs, but it also added corresponding naturals in the R.H. in bars 505 and in the L.H. in bar 508. The unnecessary signs were removed in FE (→EE) and partially also in GE2 (only in bar 508). category imprint: Editorial revisions issues: GE revisions , Cautionary accidentals , Authentic corrections of FE , Last key signature sign |
1-d1-d2. Chopin corrected the first two quavers and most probably overlooked the third one, being in haste. Such a scenario is confirmed by the proofreading of 
in 