mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

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Rhythm

b. 248

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

Rhythm without rest in A (→GE)

Rhythm with rest in FE (→EE)
..

Shorter rhythmic values certainly stem from Chopin's proofreading in FE (→EE). The aim was most probably to differentiate the performance of bars 248 and 252 in a more distinct manner due to the harmonically different continuation in bars 249 and 253.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 250-251

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

g tied in A & GE2

g repeated in GE1 (→FE→EE)
..

The missing tie of g must be a mistake of the engraver of GE1 (→FE→EE).

category imprint: Differences between sources

issues: Errors in GE , 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

b. 317-318

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

..

In Morch Chopin shortened the value of the g-e1-b1 chord in violins and violas to a crotchet – originally, it lasted almost two bars, same as the bass note of the C-c chord, held by cellos and double basses.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes

b. 329-330

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

f1 repeated in A (→GE→FE→EE1→EE2)

f1 tied in EE3
..

The tie of f1 in EE3 was most probably added on the basis of analogy with bars 5-6; EE features such a version in these bars. 

category imprint: Differences between sources

issues: EE revisions