Issues : EE revisions
b. 401-403
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composition: Op. 21, Concerto in F minor, Mvt III
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The ties of c2 were reproduced in the editions with errors (similarly as in analogous bars 57-59 and 397-399). In GE1 only the first of them was placed at the right pitch, whereas the second combined the e2 and f2 notes. The ties were further deformed in FE1 – the first one runs from e2 to a2, whereas the second one was omitted. In addition, FE (→EE) overlooked c2 at the beginning of bar 402. In FE2 a g1-a1 slur was added in bars 402-403, which can be seen as an inaccurately performed Chopinesque proofreading. The tie was not included in EE, which can mean that it was added in the last phase of proofreading. The versions of EE1 and EE2 (→EE3) are certainly a result of arbitrary revisions. In the main text we give the only undoubtedly authentic version of A, reproduced correctly only in GE2. category imprint: Differences between sources issues: EE revisions , Errors in FE , Inaccuracies in GE , GE revisions , Authentic corrections of FE |
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b. 410-419
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composition: Op. 21, Concerto in F minor, Mvt III
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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 |
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b. 414
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composition: Op. 21, Concerto in F minor, Mvt III
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In FE (→EE1→EE2) a was placed before b2, which is a mistake. Such a developed version, with a b2-d3 third, is conspicuous only when performing the piece with orchestra (d1 in the viola part), which may have contributed to the absence of a correction in EE1, generally carefully revised. In EE3 the before b2 was preserved; in addition, a second one was added, lowering d3 to d3. category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors repeated in EE |
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b. 422
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composition: Op. 21, Concerto in F minor, Mvt III
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The version of A with the b-f1 fifth is most probably a remaining element of an earlier version of this bar, with d as the bass note (see the previous note). In GE1 (→FE1) Chopin introduced a third instead of the fifth; however, the proofreading was performed inaccurately, forgetting about the before the bottom note. FE2 tried to correct this mistake, yet the added sign was misplaced before the top note. The correct text appears just in EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Errors resulting from corrections , Authentic corrections of FE |
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b. 422
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composition: Op. 21, Concerto in F minor, Mvt III
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In A (→GE→FE) there is no restoring g2 on the 3rd beat of this bar. This patent oversight – cf. analogous bar 414 – was corrected only in EE. An identical mistake is to be found in A also in the two remaining appearances of similar figures (bars 454 and 462). In this type of texture, Chopin considered both voices independently, to a significant extent, hence an alteration forming part of the chromatic progression in the top voice did not influence the notes of the bottom voice, constituting the harmonic base, in the internal hearing of the composer. Cf. numerous mistakes of this kind and inaccuracies in the Etude in A minor, op. 10 no. 2, e.g. in bars 1 and 5, as well as in an opposite situation in the 1st mov. of the Concerto, bars 302 and 304. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Omissions to cancel alteration , Errors of A , Errors repeated in GE , Errors repeated in FE |