mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

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b. 492

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

f-a in [ReF]

e in Morch

e-b in A (contextual interpretation→GE→FE1→EE)

f-b in FE2
..

The tonic chord in the second inversion in [ReF] must be the original version of this quaver, eventually rejected by Chopin, since all the remaining sources feature a dominant chord in this place. According to us, the corrections introducing a new concept in the orchestral part were not entirely controlled by Chopin, which manifested itself in the omission of the seventh in Morch among others. However, the seventh is present in the piano reduction of A and in all editions. In the last phase of proofreading of FE2, the composer introduced another change, replacing the third of the chord with a transitory fourth. We include the latest, probably final, version in the main text.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations

issues: Foreign hand additions in manuscripts , Errors of A , Accompaniment changes , Authentic corrections of FE , Authentic corrections of GE

b. 492

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

g-b in [ReF] & A (contextual interpretation)

g in A (literal reading→GE→FE→EE)

e-b in Morch
..

When interpreted literally, the last crotchet in the L.H. in A includes only three notes, c-g-c1. It is most probably a mistake, resulting from b and c1 merging into one note. This assumption is confirmed by such a sound of the chord in [ReF]. This empty sounding version was repeated in all editions. As the version of Morch, we give a chord in a format adopted by Chopin in the previous chords, corresponding with its harmonic content to the full chord in the orchestra. According to us, it is the most naturally sounding version in this context due to the use of a full four-note seventh chord, hence we adopt it to the main text. 

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Errors of A

b. 502

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

..

In FE (→EE1→EE2) the bottom note of the chord is an erroneous e (corrected only in EE3). In A (→GE) the text is correct.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors repeated in EE

b. 504-508

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

..

In A Chopin wrote naturals before the last note in the bar in four places – e and e1 in bar 504, E in bar 505 and e3 in bar 508. Not only did GE1 repeated these signs, but it also added corresponding naturals in the R.H. in bars 505 and in the L.H. in bar 508. The unnecessary signs were removed in FE (→EE) and partially also in GE2 (only in bar 508).

category imprint: Editorial revisions

issues: GE revisions , Cautionary accidentals , Authentic corrections of FE , Last key signature sign

b. 513

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

..

There is no bass clef in A (→GE→FE) before the last bar. The mistake was corrected only in EE.

category imprint: Differences between sources

issues: EE revisions , Errors of A , Errors repeated in GE , Errors repeated in FE