mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

Text Compare Notes Sources Description

Issues : Long accents

b. 356-362

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

Long accents in A

Short accents in GE (→FE→EE)
..

The clearly long accents in A in bars 356, 358 and 362 were inaccurately reproduced in GE (→FE→EE) as short. Cf. bar 360.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE

b. 370-371

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

2 long accents in A

Short accent in GE1

No marks in FE

Short accents next to  in EE

Long accent in GE2
..

According to us, all omitted and shortened accents in GE and FE are random inaccuracies. Moving the accents closer to  is a completely arbitrary revision of EE, unifying all these bars with the notation of analogous bars 29-32 (also erroneous) – see bars 369-375. 

category imprint: Differences between sources

issues: Long accents , EE revisions , Errors in FE , Errors in GE

b. 407

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

Short accent in A (literal reading), EE & GE2

Long accent in A (possible interpretation) & GE1 (→FE)
..

The accent in A seems to be short; however, when the note head of the minim had not been set in bold type yet, the impression could have been different. Therefore, it may be possible that it is actually the accent in GE1 (→FE), clearly longer than the accents in bars 401-402, that reproduces the proportions between the accent and the note head before it was set in bold type, hence written by Chopin's hand. Since a long accent seems to be more appropriate in this case, in the main text we give a sign in the form interpreted by GE1.

category imprint: Differences between sources

issues: Long accents , GE revisions

b. 412

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

Long accent in A

 in GE1

 in FE (→EE)

 in GE2
..

The Chopinesque long accent was interpreted in GE1 as a  hairpin, significantly increasing the range of the sign. In FE (→EE) the endings of the sign were related to the only notes in this bar, which extended it even more. The length of the sign in GE2, considered in relation to the quavers in the R.H., generally corresponds to the notation of A, yet the proportions with respect to the third in the L.H. differ – in GE2 the sign reaches beyond the half of the distance between them and can be associated with a diminuendo sign, much more than the sign in A.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE

b. 415-416

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

3 long accents in A & FE

2  & > in GE1

3 short accents in EE & GE2
..

Three clearly long accents written in A were reproduced in GE1, without any apparent reason, in an explicitly varied manner. However, FE restored the notation of A, which could be seen as Chopin's proofreading. Both in EE and GE2 the Chopinesque long accents were reproduced as common short accents.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE , GE revisions , EE inaccuracies , FE revisions