mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Articulation, Accents, Hairpins
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Articulation, Accents, Hairpins

b. 356-362

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

Long accents in A

Short accents in GE (→FE→EE)
..

The clearly long accents in A in bars 356, 358 and 362 were inaccurately reproduced in GE (→FE→EE) as short. Cf. bar 360.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE

b. 360

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

Long accent in A (→GE1→FE)
..

The only long accent in this fragment correctly reproduced in GE1 (→FE) was changed to a short one in EE and GE2. The very idea of unifying the notation of accents in all analogous bars is accurate – all signs in A are the same – yet the accents in A are clearly long, which the reviser of EE could not know, whereas the reviser of GE2 did not consider it to be significant.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 364

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

No mark in A (→GE→FE)

Short accent in EE

Long accent suggested by the editors
..

According to us, the missing accent in A (→GE→FE) must be considered an inaccuracy; Chopin wrote accents in all 16 analogous figures (bars 178-183, 258, 260, 354-362 and 495-501).

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 369-375

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

Long accent on 3rd beat in A (→GE→FE)

Short accents on 2nd beat in EE
..

In EE the notation of the accents in all of these bars was unified in such a way that the  and the accent (short) constitute one marking under the f3-f4 octave. Since in FE an accent is present only in bar 369 (a long one on the 3rd beat), it required moving this sign and adding 6 further accents – it was certainly analogous bars 29-32 that were taken as the model in this case. Due to the differences in the remaining sources, we discuss bars 370-371, 372 and 373 separately.

category imprint: Differences between sources

issues: EE revisions

b. 370-371

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

2 long accents in A

Short accent in GE1

No marks in FE

Short accents next to  in EE

Long accent in GE2
..

According to us, all omitted and shortened accents in GE and FE are random inaccuracies. Moving the accents closer to  is a completely arbitrary revision of EE, unifying all these bars with the notation of analogous bars 29-32 (also erroneous) – see bars 369-375. 

category imprint: Differences between sources

issues: Long accents , EE revisions , Errors in FE , Errors in GE