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b. 433-438
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composition: Op. 21, Concerto in F minor, Mvt III
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The shape of the accents in A, which are not very big, is generally typical of long accents (except for the sign in bar 437). However, in this case, it is understandable that the editions reproduced them as short accents. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 435-436
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composition: Op. 21, Concerto in F minor, Mvt III
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In A, Chopin wrote the final section of figuration in this phrase (from e category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Errors of A |
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b. 435
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composition: Op. 21, Concerto in F minor, Mvt III
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The pedalling of A (→GE→FE) is questionable in this bar. Initially, both this and the next bar had a whole-bar pedalling. Chopin then crossed out both signs in bar 436 and a category imprint: Interpretations within context; Differences between sources issues: EE revisions , No pedal release mark , Inaccuracies in A |
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b. 436
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we add a cautionary category imprint: Editorial revisions |
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b. 437-438
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composition: Op. 21, Concerto in F minor, Mvt III
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In these bars, the slurs of A are shorter than before, yet they still begin on the 2nd beat of the bar, which was not repeated in the editions. category imprint: Differences between sources issues: Inaccuracies in GE |
2), as if he thought the majority of the previously introduced accidentals to be still valid – he put flats only before the 3rd and 7th quavers in bar 436. In the latter, signs were added in 
at the end of the previous bar – only in 
in 
in 
before c2, after a sign written by Chopin an octave higher in an analogous figure in the previous bar.
