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Issues : Authentic corrections of FE
b. 243-244
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composition: Op. 21, Concerto in F minor, Mvt III
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There is an evident non-compliance of the part of the L.H. in A with the cello and double bass sequence in Morch within ½A: category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Authentic corrections of GE |
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b. 248
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composition: Op. 21, Concerto in F minor, Mvt III
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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 |
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b. 260
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composition: Op. 21, Concerto in F minor, Mvt III
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In the case of the slur appearing in FE (→EE), neither Chopin's authorship nor its meaning are certain – separating the ending of the trill from the next phrase is entirely clear thanks to a new slur in bar 261, not to mention smorzando, rallentando and the fermata. Due to this reason, we do not give it in the main text. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 267
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composition: Op. 21, Concerto in F minor, Mvt III
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In FE1, the topmost note in this bar is an a category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Terzverschreibung error , Authentic corrections of FE |
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b. 288
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composition: Op. 21, Concerto in F minor, Mvt III
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The version of FE1 must be erroneous, which is proved by a comparison with analogous bars 286 and 290 as well as by the proofreading of FE2 (→EE), perhaps originated by Chopin. category imprint: Differences between sources issues: Errors in FE , Terzverschreibung error , Authentic corrections of FE |