mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

Text Compare Notes Sources Description

Issues : Errors of A

b. 243

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

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In A there is no  before the 1st crotchet. The patent inadvertence was corrected in GE (→FE→EE).
In FE there is no  lowering g to g on the 2nd beat of the bar. It must be a side effect of an inaccurately implemented proofreading of the part of the L.H. encompassing bars 243-244. The mistake was corrected in EE.  

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Errors of A

b. 256-260

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

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In the part of the L.H. neither the clef was changed to the treble one in bar 256 nor the bass clef returned at the end of bar 260 in A. These patent oversights – particularly taking into account the orchestral part of Morch with the constantly held G major chord – were corrected already in GE1 (→FE→EE, →GE2).
The treble clef written in pencil in bar 256 is probably a later, foreign addition – cf. a similar situation in the 2nd mov. of the Concerto, bar 50. 

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of A

b. 267

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

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In A the flats were added in this bar in a visible haste, probably to complement the notation after the notes had been written. The signs before C and c are written a third too high, whereas instead of the necessary flats before g and c2 Chopin wrote signs before e and e1. The inaccuracy was not noticed in GE1 (→FE). The necessary signs were added only in EE and GE2, whereas the superfluous flats before e and e1 were removed only in EE. 

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Cautionary accidentals , Errors of A

b. 296

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

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A has an a1 as the last note in the L.H. It is almost certainly a mistake – cf. analogous figures in bars 300, 302 and 304-306. Mistakes in the number of ledger lines are the most frequent pitch errors committed by Chopin (excluding those related to the notation of accidentals). GE (→FE→EE) features the correct text, which can be ascribed to Chopin's proofreading or a fortunate mistake, since there are no visible traces of correction in print, whereas the note in A, despite three ledger lines, is written lower than the previous g1.
In the discussed place, there is a visible correction in A. The deletions are actually very precise, yet their placement allows us to indicate e1 and d1 as possibly crossed out original (or only erroneous) last two notes.

category imprint: Interpretations within context; Differences between sources

issues: Errors resulting from corrections , Terzverschreibung error , Errors in the number of ledger lines , Errors of A , Authentic corrections of GE

b. 305-306

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

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In A there is not any  raising e2(3,4) to e2(3,4). It is almost certainly Chopin's mistake – if he were to hear e in this place, he would have used a cautionary flat in this context. The composer also omitted the naturals raising d1(2) to d1(2), which clearly proves that the figures (whose sound, written after so many repetitions, he regarded as obvious) were written hastily and inaccurately. Anyway, the naturals (e2, d2 and e4) added in the proofreading of GE1 (→FE→EE, →GE2) and uncontested by the composer both in FE and FED clearly prove his intention. In EE, naturals were added also next to d1 and d4, whereas in GE2 – next to e3.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Authentic corrections of GE