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Op. 21, Concerto in F minor, Mvt III

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b. 253

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

 at end of bar in sources

 at beginning, suggested by the editors
..

While writing , Chopin probably used a former convention, according to which a sign was put near to the middle of the range of its validity (in this case bars 253-254). This kind of notation is probably to be found in, e.g. the Etude in C major, op. 10 no. 1, bar 45.

category imprint: Interpretations within context; Editorial revisions

issues: Centrally placed marks

b. 254-256

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

..

In A (→GE1→FE) there are no flats lowering g2 to g2 in bars 254 and 256. This patent inaccuracy was partially corrected in EE1 (→EE2), by adding a  in bar 256. The correct text is only in GE2 and EE3.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Inaccuracies in A

b. 255

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

No slur in A

Slur in GE (→FE→EE)
..

The absence of the slur in A is probably Chopin's oversight. The bar is the first one on a new page, and the notation reveals distraction, probably following from haste – there is also no staccato dot under G in this bar and treble clef in the next one. Due to this reason, in the main text we give this slur, although the authenticity of the addition introduced in GE1 remains uncertain.

category imprint: Differences between sources

issues: Authentic corrections of GE

b. 255

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

No mark in A (→GE1→FE→EE)

Staccato dot in GE2
..

No articulation markings in this bar points to possible Chopin's oversight in A.

category imprint: Differences between sources

issues: GE revisions

b. 256

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

..

It is difficult to say what the annotation at the beginning of the 3rd triplet in FED means. It could be extension of the 6th and 7th quavers, as if notation of harmonic legato –  – yet, when taking into account the authentic pedalling, such a procedure seems to be pointless here.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED