Issues : Errors in GE
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b. 450
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composition: Op. 21, Concerto in F minor, Mvt III category imprint: Differences between sources issues: EE revisions , Errors in GE , GE revisions |
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b. 451-453
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composition: Op. 21, Concerto in F minor, Mvt III
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GE1 (→FE) include two whole-bar slurs in bars 451-452, which is a typical distortion of the slurring of A. However, since an ending of the slur was printed at the beginning of bar 453 (in a new line), we assume that the slur from bar 452 reaches – in accordance with A – the 1st crotchet in bar 453. This is how it was reproduced in EE. In GE2 an arbitrary division of the slur before the 2nd beat in bar 452 was applied, same as in all the remaining analogous bars. In the main text we give the slur of A, the only undoubtedly authentic one. category imprint: Differences between sources issues: Inaccuracies in GE , Errors in GE , GE revisions |
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b. 453-454
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composition: Op. 21, Concerto in F minor, Mvt III
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The missing staccato dots in GE1 (→FE→EE) are most probably a mistake, just as the seemingly complementary slurring. The dots were restored in GE2. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 458-459
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composition: Op. 21, Concerto in F minor, Mvt III
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In A both c3-f3 fourths were provided with wedges, which, however, may be problematic at the time of interpreting them. The mark in bar 458 looks like a dot, whereas the one in bar 459 like a crotchet stem of the top note pointing upwards. This is how they were interpreted in GE1 (→FE→EE), as a result of which there is no staccato mark in bar 459. In GE2, the dot was preserved in bar 458, yet no staccato mark was added in bar 459, in spite of removing the unnecessary division of the fourth into voices. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Errors in GE , Wedges |
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b. 478
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composition: Op. 21, Concerto in F minor, Mvt III
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Omission of this 'one' in GE1 (→FE→EE) probably resulted from it having been considered a consequence of an accidental quill movement. One can ponder why Chopin indicated fingering only in the fifth similarly structured passage. It could have been related to tucking the thumb under on a black key in a situation when the previous passage included white keys only (in bar 472 the position of the thumb on the black key was forced already in the previous bar). category imprint: Differences between sources issues: Errors in GE |
