mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

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Issues : GE revisions

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b. 101

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

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It is uncertain whether the 2nd crotchet in the L.H. in A is provided with a staccato dot or not. In GE1 (→FE→EE) there is no dot; however, it was added in GE2.

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions

b. 106-108

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

L.H. long accents in A & GE2

R.H. long accent in GE1 (→FE)

R.H. long accent & L.H. accents in EE
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Out of two long accents under the chords in the left hand only the first was reproduced in GE1 (→FE→EE) and under the part of the R.H. EE added both accents in the L.H., probably by analogy with bars 90 and 92 and 114 and 116. GE2 restored the notation of A.

category imprint: Differences between sources

issues: Long accents , EE revisions , Errors in GE , GE 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. 109

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

 from 2nd beat in A

 from first beat in GE (→FE→EE)
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The placement of the  sign in A is almost certainly an example of the manner of placing indications within and not at the beginning of their scope of validity, sometimes used by Chopin  – cf. e.g. 1st mov., bar 329. This is how it was interpreted already in GE1 (→FE→EE, →GE2).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Centrally placed marks

b. 111

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

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The  raising d2 to d2, overlooked by Chopin in A, was added in GE (→FE→EE).  

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Omission of current key accidentals