mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

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b. 417

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

..

In the main text we add a cautionary  before a1. 

category imprint: Editorial revisions

b. 422

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

Fifth in A & GE2

Third in GE1 (→FE→EE)
..

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

b. 422

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

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In the sources, the cautionary  at the beginning of the bar is before B in the bass, yet it is absent before b2 in the R.H., where it is more justified. It seems that Chopin did not combine these two elements:

  • the sign in the R.H. did not seem to be necessary, same as the  returning g2 on the 3rd beat of this bar was overlooked – Chopin heard and wrote both voices independently.
  • the sign in the L.H. was copied while correcting this note from the original d, which makes it a momentum error – the correction is proved by a visible deletion of this note (see also corrections in analogous bars 461-462).

In the main text we remove the  in the L.H. and add it in the R.H.

category imprint: Editorial revisions; Corrections & alterations

issues: Corrections in A , Cautionary accidentals , Last key signature sign

b. 422

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

..

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

b. 422-423

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

e3 in A (literal reading→GE1→FE1)

e3 in A (contextual interpretation), FE2 (→EE) & GE2
..

When interpreted literally, the version of A (→GE1→FE1) is certainly erroneous, although both bars are written in the same way for the second time (bars 462-463). It is proved by the B-g-d1-f1 chord (and not -e1) in the orchestra, played from the beginning of bar 422, and above all by the flats lowering e3 to e3, which were added in both bars in the proofreading of FE2 (→EE), almost certainly by Chopin. Flats were added also in GE2.
See also bar 423.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions , Omission of current key accidentals , Errors of A , Authentic corrections of FE