Issues : Authentic corrections of GE
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b. 454-455
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composition: Op. 21, Concerto in F minor, Mvt III
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The absence of a staccato mark in A in bar 454 must be an inaccuracy, corrected already in GE (→FE→EE), where a dot was added. A dot is visible also in bar 453, yet it may also be an inaccuracy, resulting from, e.g. haste – cf. bars 414-415. category imprint: Differences between sources; Editorial revisions issues: Authentic corrections of GE , Wedges |
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b. 455
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composition: Op. 21, Concerto in F minor, Mvt III
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In A the only accidental before the 1st chord in the R.H. is the cautionary category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Cautionary accidentals , Omission of current key accidentals , Errors of A , Authentic corrections of GE , Last key signature sign |
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b. 456-464
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composition: Op. 21, Concerto in F minor, Mvt III
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In A there are no flats restoring b category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Errors of A , Authentic corrections of GE |
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b. 456-457
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composition: Op. 21, Concerto in F minor, Mvt III
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In A, it is difficult to say where the slur in the L.H. in bar 456 is supposed to reach. When interpreted literally, it leads to the last chord in this bar, yet in bar 457, on a new page in A, there is an ending of a slur from the previous page. In GE (→FE→EE), both slurs were combined in one, which has to be considered a possible interpretation (it also seems to be likely that the slur was added in its entirety in the proofreading of GE1). However, according to us, it is the contextual interpretation including the authentic slurs in bars 416-417 and 424-425 that is more likely, and these are the slurs we give in the main text. category imprint: Graphic ambiguousness; Differences between sources |
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b. 462-463
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composition: Op. 21, Concerto in F minor, Mvt III
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The slur in the R.H. starting in bar 462 reaches only the last note in this bar in A. It is almost certainly a trace of the original notation, which is supported by an extension of the slur in an analogous situation one bar earlier. Chopin's oversight was corrected already in GE1, most probably by the composer himself. At the same time, the visible traces of corrections in print prove that it was different slurs than in A that were subject to proofreading – it is likely that initially each of bars 461-464 was encompassed with a separate, whole-bar slur (bar 462 certainly was). category imprint: Differences between sources issues: Authentic corrections of GE , Omitted correction of an analogous place , Corrected slurs of Op. 21 in GE1 |
before e2. From the musical point of view, the version with d3 would be possible, yet a comparison with analogous bar 425 and a 
of d
3 added – probably by Chopin – already in 
