mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 98

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

Slurs in A & GE2

GE1

FE (→EE)
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The slurs of GE1, contrary to A and to a natural division into motifs, emphasised with a transfer of the hand, were partially corrected in FE (→EE). According to us, it is uncertain whether it was a result of Chopin's intervention or inaccuracy of the engraver.

category imprint: Differences between sources

issues: Inaccuracies in GE , Authentic corrections of FE

b. 102-103

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

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In GE, the 2nd and 3rd triplets in bar 102 and the 1st and 2nd triplets in bar 103 were provided with an octave sign, so they are written an octave too high. The mistake stemmed from a change performed in the notation of this fragment – Chopin wrote it using an octave sign, whereas in GE1, planning on omitting 8 - - -, the notes were printed at the actual pitch, yet the octave sign was left by mistake. The error was corrected, probably by Chopin, in FE (→EE1), but it was unnoticed by the reviser of GE2. The erroneous octave sign was introduced also in EE2; EE3 restored the correct text. 

category imprint: Differences between sources

issues: Errors in GE , Authentic corrections of FE , Errors repeated in GE

b. 117-120

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

Slur in bar 117 in  A, literal reading

Slur in bars 117-118 in GE

2 slurs in bars 117-120 in FE (→EE)

Slur in bars 117-120 suggested by the editors
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The slur of A cannot correspond to the intention of Chopin, who probably interrupted drawing the slur due to lack of space – due to deletions in the part of the R.H. its final version was written on an adjacent stave, as a result of which its topmost elements already reach the viola part. Moreover, it cannot be excluded that the composer considered the octave sign to be a continuation of the slur (cf. a similar situation in the Etude in E major, op. 10 no. 11, bars 40-42). GE (→FE→EE) embraced with a slur bars 117-118, which is probably a result of Chopin's proofreading. A slur added in bars 119-120 in FE (→EE) is probably an authentic addition too. These possible corrections indicate, according to us, that the intention was to embrace with a slur the entire four-bar section, same as in bars 85-89, 93-96 and 109-112. Division of the slur between bars 118 and 119 is almost certainly a result of distraction related to the transition to a new page both in A and in GE (→FE). Due to this reason, in the main text we suggest one slur over these bars. 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Inaccurate slurs in A , Authentic corrections of FE , Authentic corrections of GE

b. 122

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

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The cautionary flats before B and b at the beginning of the bar were added in the proofreading of FE (→EE). It seems to be likely that it was done by Chopin, who introduced cautionary flats before e and e1 in an analogous situation in the next bar already in A.

category imprint: Differences between sources

issues: Cautionary accidentals , Authentic corrections of FE

b. 124

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

g1(2) in A (→GE)

g1(2) in FE (→EE)
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In the main text, we give g1(2) as the 4th quaver in bar 124, introduced by Chopin in the proofreading of FE (→EE). The composer also took care of cautionary naturals before g2(3) in the next bar. The version of A (→GE) is most probably erroneous – if Chopin wanted to have a g1(2) in this place, he would have probably used the diminished chord B-e-g-d1 in the orchestral accompaniment.

 

category imprint: Differences between sources

issues: Authentic corrections of FE