Issues : Errors in GE
b. 485-486
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composition: Op. 21, Concerto in F minor, Mvt III
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According to us, the virtuoso panache and brilliance require rather accents than diminuendos, hence in the main text we interpret all marks of A as accents (long and short). The marks printed in GE (→FE→EE), even longer than in the notation of A, hinder the interpretation of a possible intention of the composer even more. Shift of the accent at the end of bar 485 must be an inaccuracy of the engravers of GE1 and FE1. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , Errors in GE , EE inaccuracies |
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b. 491
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composition: Op. 21, Concerto in F minor, Mvt III
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The missing b in the chord on the 2nd crotchet is almost certainly a mistake of the engraver of GE1 (→FE→EE). The note was added in GE2 on the basis of the clear notation of A. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 494-502
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composition: Op. 21, Concerto in F minor, Mvt III
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No pedalling markings in GE1 (→FE→EE) must be an oversight – in A the mark is written carelessly and just above the clef opening the line of the cello part in Morch, so it could have been unrecognised. According to us, Chopin wanted to hold pedal at least until the end of bar 501 – cf. an analogous situation in bars 353-356. In the main text we suggest it with a mark in bar 502. category imprint: Differences between sources issues: Errors in GE , GE revisions , No pedal release mark |
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b. 506
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composition: Op. 21, Concerto in F minor, Mvt III
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The missing staccato dots over the 4th and 7th quavers in GE1 (→FE→EE) must be an oversight. The signs were added in GE2. category imprint: Differences between sources issues: Errors in GE , GE revisions |