mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

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b. 16

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

Octave in A & GE2

Only f in GE1 (→FE→EE)
..

Omitting the F note at the beginning of the bar in GE1 (→FE→EE), representing the cello part, is certainly an oversight of the engraver.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 19

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

e2 in A (→GE→FE1→EE)

e2 in FE2
..

The  raising e2 to e2 added in FE2 almost certainly indicates a change of concept by Chopin. The original sound of e2 is confirmed not only by A, but also by Morch – in the parts of 1st violin, oboe and clarinet; moreover, violas include e1 (e1 in the 2nd French horn part is certainly a mistake). It is striking that the change was not included in EE, which means that it was introduced in the last phase of proofreading FE2. Similarly in analogous bar 343. 

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 20-22

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

..

In the main text we add cautionary flats before b2 in bar 20, d1 in bar 21 and e1(2) in bar 22. In turn, we remove the  before d2 in bar 22, written by Chopin yet unnecessary in this place.

category imprint: Editorial revisions

issues: Cautionary accidentals , Last key signature sign

b. 27

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

..

Rhythmic notation used by Chopin can be understood in two ways:
      or  .
In practice the most important is a smooth rendition of thematic bottom voice. Similarly in bar 334.

category imprint: Interpretations within context; Source & stylistic information

b. 30-32

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

Small notes in A & GE2

Regular notes in GE1 (→FE→EE)

Small notes suggested by the editors
..

The simplified notation of A, in which the dyads of the orchestral accompaniment of the solo part are separated only by a smaller font, confused the engraver of GE1 (→FE→EE), who, not having noticed the difference in the size of the notes, engraved entire chords in a normal font. In FE in bars 374-376, not only did Chopin correct this mistake, but he also differentiate between the solo part and the accompaniment in a clearer manner. We employ the latter, being the latest and constituting a significant improvement, also here. A text of the solo part compliant with Chopin's intention appeared in print for the first time in the National Edition.

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE , GE revisions , Omitted correction of an analogous place