mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

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b. 433-437

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

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In the main text we add a cautionary  before c3 in bars 433 and 437.

category imprint: Editorial revisions

b. 433-437

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

2 quavers in sources

Triplet suggested by the editors
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The solution suggested in the main text consisting in treating the quavers on the 1st beat of bars 433 and 437 as the 1st and 3rd notes of a quaver triplet seems to be recommended both due to the musical reasons (in the coda of this movement of the Concerto, there is an absolute supremacy of the triplet movement) and the pianistic ones (hand transfer). Such a notation can be found in Chopin's pieces on several occasions, e.g. in the Sonata in B minor, op. 58, 1st mov., bar 54, the 1st crotchet in the R.H. and the 4th crotchet in the L.H. In the latter, Chopin introduced a rest between two quavers in a pupil's copy.    

category imprint: Interpretations within context; Editorial revisions

b. 433

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

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category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in GE , GE revisions , Errors repeated in FE

b. 433

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

No mark in A (→GE→FE)

Staccato dot in EE
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The dot in EE is most probably a mistake of the engraver who considered the staccato mark to be the dot ending the Ped. abbreviation in FE.

category imprint: Differences between sources

issues: Errors in EE

b. 433-437

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

Slurs from d1 in A

Whole-bar slurs in GE (→FE→EE)
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The range of the four subsequent slurs in the L.H. in A may be problematic at the time of interpreting them – the lines are written with a flourish and they overlap with the  and  hairpins. The first slur is particularly inaccurate; in this case, it is both the beginning and ending that are questionable. However, a comparison of all four slurs allows us to state that the slurs always run from the d1 minim to the beginning of the next bar and this is the form in which we give them in the main text. The whole-bar slurs of the editions, although incompliant with A, could have been accepted by Chopin, since if we consider the authentic rhythmic values, accents and pedalling, the slurs can influence the performance to a minor extent. Similarly in bars 437-438.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A