mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

Text Compare Notes Sources Description

Issues : Errors of A

b. 310

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

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The natural raising a to a is written in A with pencil. The sign clearly differs from both typical Chopinesque naturals and the signs added in bar 314 (as well as from the  written with pencil in the part of the clarinet I in Morch in this place). Moreover, a denser text in GE1 suggests that in this edition a corresponding sign was added only in the proofreading. Therefore, it may be one of the later, foreign additions – cf. bar 256.

category imprint: Interpretations within context; Differences between sources

issues: Foreign hand additions in manuscripts , Omission of current key accidentals , Errors of A , Authentic corrections of GE

b. 313-314

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

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In A there is no  raising d1 to d1 on the 4th quaver in bar 313, whereas the signs in bar 314 were added with pencil. In spite of the obvious accuracy of these additions, their authenticity is not certain, since other additions made with pencil in A were added rather by a foreign hand – cf. bar 256 and 310. All sources include a  raising d1 to d1 in the last quaver in bar 313. We omit this sign in the main text, since after the oversight on the 4th quaver had been corrected, it became superfluous.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts , Omission of current key accidentals , Errors of A

b. 329

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

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There is no  before the 3rd third in A (→GE→FE→EE1→EE2). Chopin's oversight is proved by a present both in the cello part in Morch and analogous bar 5. The sign was added in EE3, probably on the basis of the indicated analogy.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors of A

b. 337-340

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

8– – ¬ to bar 340 in A (→GE1), contextual interpretation & in EE2

No 8– – ¬ in FE (→EE1), GE2 & EE3

8– – ¬ over octave in bar 337, suggested by the editors
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According to us, Chopin did not want these bars to differ from analogous bars 13-16, although there is no corresponding version in any of the sources. The first cause of such a state of affairs was a possible mistake committed by Chopin in A – an unnecessary extension of the line determining the range of the octave sign beyond the 2nd crotchet in bar 337. However, the correction of this error in FE (→EE1) – elimination of the entire octave sign – also removed the characteristic leap to the f3-f4 octave, which, due to its important role in the entire 3rd mov. of the Concerto, could not possibly be intended by Chopin. Therefore, the version of FE is most probably not entirely correct. The situation is even more obscure due to minor, obvious mistakes, e.g. no ending of the octave sign in bar 340 in A (assuming its correctness) and embracing the 1st crotchet in bar 337 in GE1 with the octave sign. In later editions, one of the previous versions was introduced arbitrarily, which does not influence the determination of the text in any way.  

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors in GE , GE revisions , Errors of A , Authentic corrections of FE

b. 345

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

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A has an f1 as the most bottom note of the chord on the 3rd beat of the bar. The mistake was almost certainly committed at the time of writing this fragment in bold type (see the characterization of A) and did not pass to the editions, which suggests that the text was set in bold type already after GE1 had been finished.

category imprint: Differences between sources

issues: Errors of A