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Op. 21, Concerto in F minor, Mvt III

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Issues : GE revisions

b. 33

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

Separate slurs in A

Continuous slur in GE (→FE→EE)
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The division of the slur in A is probably the original version, left due to deletions and inability to write a continuous slur in a graceful way. However, such slur is in the L.H. and in GE (→FE→EE), where Chopin's possible intention was interpreted correctly.

category imprint: Differences between sources

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

b. 35-41

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

No L.H. slur in A (→GE1→FE)

Slur to end of bar 40 in EE

Slur to beginning of bar 41 in GE2

Slur to bar 41 suggested by the editors
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In the main text we suggest adding the slur in the L.H. – slurs in the L.H. are present both before and after this phrase, hence a missing slur could suggest a difference in performance between the right and left hand, which certainly was not Chopin's intention. When the phrase returns in bars 379-385, the slur in the L.H. is also absent, but in this case, Chopin consistently gave slurs only in the R.H. in the entire fragment in unison (bars 377-388). A similar addition was introduced already in EE as well as in GE2.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 41-43

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

R.H. wedges in A

No marks in GE1 (→FE→EE)

Dots in both hands in bar 43 in GE2

Wedges in both hands suggested by the editors
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The missing wedges at the beginning of bars 41 and 43 are certainly a result of inaccuracy (haste) of the engraver of GE1 – both cases are perfectly clear in A (the sign in bar 41 probably originated by the addition of the correct wedge to the nucleus of the slur, which Chopin then started from the semiquaver). In GE2, only the sign in bar 43 was included, interpreting it as a dot. In the main text, we suggest adding signs in the L.H., since a homogeneous articulation of both hands is beyond doubt.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 53-55

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

Ties to c2 in A (→GE)

Slurs g1-a1 in FE (→EE)
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In GE1, the ties of c2 were reproduced literally, as short, horizontal, little ties preceding the c2 crotchets at the beginning of bars 54 and 55. The notation was misunderstood in FE (→EE), by assigning the curved lines to the bottom notes of chords, g1-a1. In GE2 the ties of A were interpreted in accordance with their meaning. A similar misunderstanding concerning the Chopinesque tie can also be seen in bars 55-56.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions

b. 54-55

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

Staccato dot in A & GE2

No marks in GE1 (→FE→EE)

Staccato dots suggested by the editors
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It is hard to ascertain whether the staccato dot at the beginning of bar 54 was overlooked by the engraver or deleted as part of a revision (Chopin's correction?) comprising also a change in slurring of bars 54-56. In the main text we maintain the notation of A and suggest analogous articulation – staccato dots – for the identical pair of chords a bar later. Similarly in bars 57-59.

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE , GE revisions