mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

Text Compare Notes Sources Description

Issues : Wedges

b. 387

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

Wedge in A

No mark in GE1 (→FE→EE)

Dot in GE2
..

The omission of the wedge must be an oversight of GE1 (→FE→EE). The staccato sign – in the form of a dot – was added in GE2.

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Wedges

b. 410-419

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

4 wedges in A

4 dots in GE

3 dots in FE

3 dots in EE
..

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

b. 413-421

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

Wedge in bar 413 in A

Dot in bar 413 in GE

No marks in FE (→EE)

Wedges in bars 413 & 421 suggested by the editors
..

The wedge at the beginning of bar 413 was reproduced in GE as a dot. In FE (→EE) the sign was overlooked. No staccato mark in analogous bar 421 must be Chopin's oversight: it is the first bar on a new page of A, which was frequently related to various inaccuracies of notation.

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , Inaccuracies in GE , Wedges , Inaccuracies in A

b. 414-415

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

Dots in A (possible reading) & GE2

Wedges in A

No marks in GE1 (→FE→EE)
..

It is uncertain what kind of staccato marks Chopin used in A at the beginning of these bars. The sign in bar 414 seems to be a small wedge, whereas the one in 415 – rather a dot. When repeating this fragment, Chopin wrote only one mark – a dot in bar 454. According to us, one can safely assume that Chopin had one type of marks in mind. The argument for wedges is the rhythmic similarity of these bars to bars 409-410, in which the use of wedges does not raise major doubts. On the other hand, the difference in articulation between these pairs of bars seems to be justified by a harmonic difference, particularly the change of mode from major to minor. In this situation, it is both the dots and the wedges that can be considered to be corresponding to Chopin's intention. No staccato marks in GE1 (→FE→EE) must be an oversight, whereas GE2 added dots.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in GE , GE revisions , Wedges

b. 441

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

Wedge in A

Dot in GE

No mark in FE (→EE)
..

The wedge written in A was inaccurately reproduced in GE as a dot. The omission of the sign in FE (→EE) must be a mistake.

category imprint: Differences between sources

issues: Errors in FE , Inaccuracies in GE , Wedges