mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

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b. 109

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

 from 2nd beat in A

 from first beat in GE (→FE→EE)
..

The placement of the  sign in A is almost certainly an example of the manner of placing indications within and not at the beginning of their scope of validity, sometimes used by Chopin  – cf. e.g. 1st mov., bar 329. This is how it was interpreted already in GE1 (→FE→EE, →GE2).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Centrally placed marks

b. 111

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

..

The  raising d2 to d2, overlooked by Chopin in A, was added in GE (→FE→EE).  

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Omission of current key accidentals

b. 113-115

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

..

In bars 113 and 115 Chopin overlooked naturals raising d3 to d3. This patent mistake was not rectified in any of the editions.

category imprint: Interpretations within context; Editorial revisions

issues: Omission of current key accidentals , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 114-116

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

Long accents in A (→GE→FE)

Short accents in EE
..

The long accents in bars 114 and 116, perfectly reproduced in GE, are not equally legible in FE, although the difference with respect to the short accents in bar 118 is clear. In EE they were considered common, short accents.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in FE , EE inaccuracies

b. 114-116

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

..

In the main text we add cautionary naturals before f2 in bars 114 and 116.

category imprint: Editorial revisions