mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

Text Compare Notes Sources Description

Issues : GE revisions

b. 75-76

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

Staccato dots in A & GE2

No marks in GE1 (→FE)

Dot in bar 76 in EE
..

The missing staccato dots in GE1 (→FE) are almost certainly a result of inaccuracy of the engraver, who overlooked all performance indications over notes in these bars (four dots and an accent). In EE, a dot was added at the beginning of bar 76, probably by analogy with similar bar 68. All dots were restored in GE2 on the basis of A. See also the note on dots in the L.H.
The presented variants did not include the dot on the 2nd crotchet in bar 76, to which a separate note is dedicated.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 75-76

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

No marks in A (→GE1→FE)

1 staccato dot in EE

4 dots in GE2

2 dots suggested by the editors
..

In this context, separate staccato dots for the L.H. are not indispensable, hence the notation of A (→GE1→FE) may be deemed complete. However, a very similar phrase appeared 8 bars earlier, and the notation of A included more elements – ending of the slur embracing the quaver passage, two dots in the L.H. in bar 67 and a slur under the trill. It suggests that they could have been accidentally overlooked in the discussed place. Due to this reason, in the main text we suggest adding dots under the crotchets in bar 75. EE added a dot under G in bar 76 (after the part of the R.H.), whereas GE2 doubled all four dots.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 78-79

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

 i  in A

> &  in GE1 & EE

 &  in FE

 &  in GE2

Our alternative suggestion – 
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In the main text we give dynamic markings of A, which are unquestionable, as far as sources and music are concerned. In this context, the markings of GE1 (→FE →EE) – two subsequent  signs – are illogical to such an extent that one could suspect a mistake. In fact, taking into account the fact that  in bar 79 is poorly visible in A, it seems to be highly likely that  in this place resulted from an erroneous interpretation of A (the shape of the sign in A is one of the numerous arguments for Chopin's haste, increasing as he was writing A). In turn,  added at the beginning of bar 78 may be interpreted as an attempt to rectify the mistake from bar 79 – Chopin may have wanted to move  to bar 78, where it would not collide so strikingly with its original, and perhaps the only, dynamic concept, written in A. It would be an example of unfinished proofreading, in which a new sign was added without having deleted the old one. We give the version, perhaps intended by Chopin, as an alternative suggestion.
We consider the sign visible in A at the beginning of bar 78 – same as in bar 70 – to be a long accent. In this case, it was reproduced in GE1 as a short accent, whereas in GE2 – as a short . It is unclear how the sign appeared in EE, being absent in FE. The accent was most probably overlooked in FE, whereas in EE it was added by analogy with bar 70 – the hairpin is longer there, but the reviser could have been impelled to shorten it by the absence of a note on the 3rd beat of the bar. A strong argument for such an explanation is the revision of EE in bar 70, going in an opposite direction, since it added  drawn from here.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

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

b. 78

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

..

In A there are no cautionary flats before the 2nd chord in the L.H. The signs were probably added by the reviser of GE1 (→FE→EE, →GE2), although it cannot be excluded that they were inspired by Chopin.

category imprint: Differences between sources

issues: GE revisions , Cautionary accidentals

b. 80

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

Slur & dots in A & GE2

Pause in GE1 (→FE→EE)
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The slurs and dots with which Chopin marked the last two c2 crotchets were reproduced in GE1 (→FE→EE) as a fermata over the last of them. This seemingly impossible mistake becomes understandable when we look at the entire page of ½A – the fermatas over the whole-bar rests in the parts of particular instruments in Morch, written with flourish, look very much like the discussed slur. GE2 restored the markings of A.

category imprint: Differences between sources

issues: Errors in GE , GE revisions