Issues : Errors resulting from corrections
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b. 422
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composition: Op. 21, Concerto in F minor, Mvt III
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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 |
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b. 453-454
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composition: Op. 21, Concerto in F minor, Mvt III
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The crossings-out and corrections in the part of the L.H. in A make it uncertain whether Chopin wanted to accentuate the minims on the 2nd beat of these bars. An accent is present only in bar 453; moreover, it is placed below a crossed-out minim. However, in analogous bars 461-462, Chopin undoubtedly preserved both accents, in spite of similar corrections. We consider the absence of the mark in bar 454 to be an oversight, hence in the main text we give the version with two accents. The editions did not include the mark in bar 453, which can be regarded as a less likely solution, yet acceptable. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , Errors resulting from corrections |
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b. 472-475
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composition: Op. 21, Concerto in F minor, Mvt III
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The issue whether the slurs at the transition between bars 472 and 473 and 474 and 475 are to be divided or combined is not clear in A, partially due to the corrections of both slurs and notes. A comparison with analogous figures in bars 476-480 suggests that the slurs having been reproduced by the editions as one-bar ones may correspond to Chopin's intention. However, the notation in bars 474-475 clearly suggests using a two-bar slur; such a possibility is not excluded by the notation of the two previous bars. Taking this into account, we suggest two interpretations of the discussed slurs. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Corrections in A , Errors resulting from corrections |
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b. 481
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composition: Op. 21, Concerto in F minor, Mvt III
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In the last chord in the L.H., A does not have signs returning g and b. This patent inaccuracy, probably caused by crossings-out and changes (the crossed out chord sounded e-a-c1-g1), was corrected already in GE (→FE→EE). EE added also a cautionary before g3. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Omissions to cancel alteration , Errors resulting from corrections , GE revisions , Errors of A |
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b. 486
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composition: Op. 21, Concerto in F minor, Mvt III
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A (→GE1→FE1) features a d2 as the last quaver. At the same time, one can see that initially the entire last triplet was written a second lower – c1-d1-d2. Chopin corrected the first two quavers and most probably overlooked the third one, being in haste. Such a scenario is confirmed by the proofreading of FE2 (→EE) – almost certainly authentic – in which the note was changed to e2. An identical correction was performed in GE2, too. category imprint: Interpretations within context; Differences between sources issues: Corrections in A , Errors resulting from corrections , GE revisions , Errors of A , Authentic corrections of FE |
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