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Op. 21, Concerto in F minor, Mvt III

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Issues : EE revisions

b. 109

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

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The  raising d3 to d3, overlooked by Chopin in A, was added only in EE and GE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 117-120

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

No  in A (→GE→FE)

 at end of bar 117 in EE

[] suggested by the editors
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The absence of the  sign in A (→GE→FE) can be a mere oversight, related to the transition to a new page in A (from bar 119). It is also possible that Chopin omitted this sign due to the use of the so-called diminuendo pedal (gradual release of pedal) – cf. e.g. the 1st mov., bar 300. The  sign added in EE is almost certainly inauthentic – cf. authentic pedalling in bars 93-94 and 109-110 (and even 85-86). Taking into account the fact that the chord in the discussed bars, being the base of the passage, does not change after two bars, we deem it to be likely that Chopin had in mind a situation in which the sound would die away longer, sustained with pedal, which is expressed by the addition of a  sign suggested by us in bar 120.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , No pedal release mark

b. 125-129

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

No L.H. slurs in A

Slur in bars 125-126 in GE1 (→FE)

2 slurs in bars 125-128 in EE

Slur in bars 125-129 in GE2
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According to us, the slur in the L.H. in bars 125-126, present in GE1 (→FE→EE), could have been added by Chopin. It is indicated by corrections of the slurs in the R.H. – if it were Chopin who ordered to combine the slurs in the R.H. at the transition between those bars, he could have also added a slur in the L.H., as if to emphasise that the one-bar slurs from bars 121-124 are no more valid here. EE added also a slur in bars 127-128 (after the slur the edition has in the R.H.). The slurring of both hands was homogenised also in GE2. In the main text we preserve the notation of A, since the slurs of EE and GE2 are certainly arbitrary, whereas the slur added in GE1, even if it comes from Chopin, is probably to be related to the corrections of the erroneous slurs in the R.H.

category imprint: Differences between sources

issues: EE revisions , GE revisions , Authentic corrections of GE

b. 137

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

No indication in A (→GE→FE)

Fl. in EE

[Flauto] suggested by the editors
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In the main text we suggest adding information about the instrument playing the solo melodic figuration. A relevant indication was added already in EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 145-160

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

No L.H. slurs in A (→GE1→FE)

L.H. slurs in EE

L.H. slurs in GE2
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In the entire section, Chopin wrote only one slur in the part of the L.H. in A, in bar 146. The fact that he then resigned from repeating the slurs written in the R.H. is proved by the notation of bar 160, opening a new page in A: in the part of the L.H. one can see there a deletion of a slur reaching the a minim and suggesting continuation from the previous bar. Therefore, the decision to add slurs, which were introduced in the entire section in EE (apart from bar 157) and GE2, was arbitrary, and it almost certainly does not correspond to Chopin's intention. Moreover, the added slurs differ between EE and GE2, since each of them copied the slurs of the R.H., which in EE generally correspond to the slurs of GE1, whereas in GE2 – to the slurs of A (cf. bars 152, 156, 157-158 and 159).
In the main text we preserve the notation of A. We discuss more complex situations from the point of view of sources in bars 146-148, 148 and 154 and 151 separately. 

category imprint: Differences between sources

issues: EE revisions , GE revisions