Rhythm
b. 330-331
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composition: Op. 21, Concerto in F minor, Mvt III
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The tie of the b-d1 third is probably a Chopinesque correction, introduced in the proofreading of FE (→EE). category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 331
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composition: Op. 21, Concerto in F minor, Mvt III
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The missing dots extending the b-d1 third in FE may mean that they could have been added in the last phase of proofreading of GE1. The authenticity of this addition is questionable (same as of a similar change in EE). category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 335
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composition: Op. 21, Concerto in F minor, Mvt III
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For how to understand Chopin's rhythmic notation see bar 27. category imprint: Interpretations within context; Source & stylistic information |
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b. 340-341
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composition: Op. 21, Concerto in F minor, Mvt III
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According to us, the most likely explanation of the presence of the tie of f1 in the editions is the engraver of GE1 having mistaken the accent for a tie (other possibility is moving the slur written in A over the top voice under the stave). Chopin did not use any of a few opportunities to extend a common note of chords in the entire Tutti (also in the exposition, bars 16-24). category imprint: Differences between sources issues: Errors in GE |
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b. 344
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composition: Op. 21, Concerto in F minor, Mvt III
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The dotted rhythm in A is the original version (cf. analogous bar 20), left here by Chopin, perhaps unintentionally. Therefore, the quavers in GE (→FE→EE) may be a result of Chopin's proofreading, although the absence of visible traces of performing changes in print allows us to consider a possible mistake of the engraver. category imprint: Differences between sources issues: Authentic corrections of GE , Omitted correction of an analogous place |