mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

Text Compare Notes Sources Description

Issues : Corrections in A

b. 334

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

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In A one can see a correction of the bottom note of the last crotchet in the L.H. Chopin initially wrote a b which he then reworked into a c1 and added names of both notes for the sake of clarity – c-g. According to us, it is probably a correction of an erroneously written version of the accompaniment (cf. bar 326) and not a change implying an improvement.

 

category imprint: Corrections & alterations

issues: Corrections in A

b. 352

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

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The layout of the notes in A suggests that the group of quavers initially included only four notes: .

category imprint: Corrections & alterations

issues: Corrections in A , Main-line changes

b. 403

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

e2 in chord in A (→GE1→FE→EE)

e2-f2 in GE2
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Originally, the 2nd crotchet in the bar in A was a c2-f2-c3. Chopin changed the middle note from f2 to e2 in the last phase of reviewing A (→GE1→FE→EE). The version of GE2 is a result of an erroneous interpretation of this correction.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Errors resulting from corrections , Errors in GE , GE revisions

b. 409-411

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

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In A one can see a three-bar correction here: the text on the top stave, including the part of the R.H. and crotchets in the L.H. (two in each bar), was crossed out and rewritten on the staves above (R.H. part) and below (the crotchets in the L.H. together with the necessary changes of clefs). The reason for these changes was an imprecision following from the original layout of the text – formally, the octave sign over the part of the R.H. would also apply to the crotchets in the L.H. written below it, which, of course, was not intended by Chopin. The original crossed out notation does not include 8- - -, so Chopin noticed a possible inaccuracy only when proceeding to write an octave sign.
Therefore, one may ponder whether it was already [AI], on the basis of which the composer probably copied A, that contained an imprecise notation or whether it was Chopin that, in order to make the process of notation easier, changed the layout in a careless manner only when writing A. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A

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