mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

Text Compare Notes Sources Description

Issues : Inaccuracies in GE

b. 409-419

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

Slurs to c3-f3 in A (contextual interpretation) & GE2

Slurs to d3 in GE1 (→FE→EE)
..

In A, the slurs over each of the descending figures in the R.H. in bars 409, 410, 417 and 418 reach the c3-f3 fourth at the beginning of the next bar (the first of them, slightly shorter, is an exception, yet in this case Chopin certainly had a longer slur in mind, too, which is proved by the slur of the original crossed out notation of bars 409-411). In spite of this, in GE1 (→FE→EE) all four slurs end with the last quaver in these bars.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions , Inaccuracies in A

b. 410-419

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

4 wedges in A

4 dots in GE

3 dots in FE

3 dots in EE
..

In A, the staccato marks at the beginning of bars 410-411 and 418-419 (in the part of the R.H.) are clear wedges – cf. the dots in the part of the L.H. The editions reproduced them as dots (as in the entire Concerto); at the same time, EE overlooked the sign in bar 410, whereas FE – in bar 418 (added in EE). 

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies , Wedges

b. 411-413

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

Slurs in A, literal reading

Slur in A, contextual interpretation

Slurs in GE1

Slurs in FE (→EE)

Slurs in GE2
..

A includes separate slurs in bars 411 and 412, probably due to the crossed out fragments in bar 411. The fact that Chopin did not intend to divide the slur in this place is supported by the slurs in all three repetitions of this fragment (bars 419-421, 451-453 and 459-461). The ending of the slur in bar 412 is also inaccurate, since it suggests leading the slur to bar 413, yet it does not go beyond the bar line. A comparison of analogous bars enables us to interpret this detail correctly. The versions of GE1 and FE (→EE) follow from an inaccurate reproduction of the base texts. In GE2, the final fragment separated with a slur, corresponding to the figures in the previous bars, is completely arbitrary.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions

b. 412

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

Long accent in A

 in GE1

 in FE (→EE)

 in GE2
..

The Chopinesque long accent was interpreted in GE1 as a  hairpin, significantly increasing the range of the sign. In FE (→EE) the endings of the sign were related to the only notes in this bar, which extended it even more. The length of the sign in GE2, considered in relation to the quavers in the R.H., generally corresponds to the notation of A, yet the proportions with respect to the third in the L.H. differ – in GE2 the sign reaches beyond the half of the distance between them and can be associated with a diminuendo sign, much more than the sign in A.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE

b. 413-421

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

Wedge in bar 413 in A

Dot in bar 413 in GE

No marks in FE (→EE)

Wedges in bars 413 & 421 suggested by the editors
..

The wedge at the beginning of bar 413 was reproduced in GE as a dot. In FE (→EE) the sign was overlooked. No staccato mark in analogous bar 421 must be Chopin's oversight: it is the first bar on a new page of A, which was frequently related to various inaccuracies of notation.

category imprint: Differences between sources; Editorial revisions

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