Issues : Errors repeated in FE

b. 48

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

..

The middle note of the 2nd chord in GE1 (→FE1) is an erroneous b(instead of cpresent in A). The mistake was corrected in FE2 (→EE).

category imprint: Differences between sources

issues: Errors in GE , Authentic corrections of FE , Errors repeated in FE

b. 64-65

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

..

In A, there is no change of clef to treble in the part of the L.H. before the entrance of the solo piano in bar 65. This patent mistake was rectified in GE, yet the erroneous notation of A is to be found in FE, which suggests that the correction of GE1 was introduced in the last phase of proofreading. EE includes the correct text; the correct clef is written also in FEJ (the carelessly written sign does not allow to identify the person who wrote it; it was probably the owner of the copy, Ludwika Jędrzejewicz).

category imprint: Interpretations within context; Differences between sources

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

b. 113-115

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

..

In bars 113 and 115 Chopin overlooked naturals raising d3 to d3. This patent mistake was not rectified in any of the editions.

category imprint: Interpretations within context; Editorial revisions

issues: Omission of current key accidentals , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 356

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

b2 in A, FE2 (→EE) & GE2

g2 in GE1 (→FE1)

..

The version of GE1 (→FE1) is almost certainly a Terzverschreibung error, which was confirmed by the Chopinesque proofreading of FE2 (→EE) restoring the version of A.

category imprint: Differences between sources

issues: Errors in GE , Terzverschreibung error , GE revisions , Authentic corrections of FE , Errors repeated in FE

b. 412

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

in A

in GE (→FEEE)

..

In the main text we preserve the unambiguous notation of the rhythm of A. Moving a semiquaver outside the last quaver of the triplet in the bottom voice is an arbitrary action characteristic of GE (→FEEE). The Breitkopf & Härtel publishing house would consistently apply a "mathematical" layout to such groups, denying the currency of the convention used by Chopin even in these places where the notation resulting from such a layout (as the discussed one) was absurd from the pianistic point of view, cf. the Nocturne in C minor, op. 27 no. 1, bars 5-13.

category imprint: Differences between sources

issues: GE revisions , Dotted rhythms and triplets , Errors repeated in FE , Errors repeated in EE