mUltimate Chopin

Op. 21, Concerto in F minor, Mvt III

Text Compare Notes Sources Description

Issues : Foreign hand additions in manuscripts

b. 54

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

..

A has an additional note, E, in the last crotchet in the L.H. It is almost certainly a mistake of the person writing certain fragments of Tutti in bold (see the characterization of A). Interestingly, the note is absent in the editions, although there are no traces of it having been deleted in GE1. It could mean that at the time when A served as base text for GE1, the fragments in bold type and the mistake were absent (it is not a conclusive argument, since the engraver could have simply confused the bars, printing the octave from bar 53).

category imprint: Interpretations within context; Differences between sources

issues: Foreign hand additions in manuscripts , Errors of A , Authentic corrections of GE

b. 57

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

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The notation of the last chord in the R.H. in A is surprising – over three g1-e2-g2 notes there is also a fourth one, more or less at the pitch of c3 or d3, but devoid of ledger lines, so it is unknown what note it should represent. At the same time, it is not one of the blots copied from the adjacent page, of which there are several in the next bars. According to us, it is a mistakenly boldened random ink spill or a staccato dot. The latter seems to be supported by the presence of such a dot in GE1; however, the dot in GE1 may be explained by another kind of mistake – see the adjacent note. 

category imprint: Source & stylistic information

issues: Foreign hand additions in manuscripts , Errors of A

b. 310

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

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The natural raising a to a is written in A with pencil. The sign clearly differs from both typical Chopinesque naturals and the signs added in bar 314 (as well as from the  written with pencil in the part of the clarinet I in Morch in this place). Moreover, a denser text in GE1 suggests that in this edition a corresponding sign was added only in the proofreading. Therefore, it may be one of the later, foreign additions – cf. bar 256.

category imprint: Interpretations within context; Differences between sources

issues: Foreign hand additions in manuscripts , Omission of current key accidentals , Errors of A , Authentic corrections of GE

b. 313-314

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

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In A there is no  raising d1 to d1 on the 4th quaver in bar 313, whereas the signs in bar 314 were added with pencil. In spite of the obvious accuracy of these additions, their authenticity is not certain, since other additions made with pencil in A were added rather by a foreign hand – cf. bar 256 and 310. All sources include a  raising d1 to d1 in the last quaver in bar 313. We omit this sign in the main text, since after the oversight on the 4th quaver had been corrected, it became superfluous.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts , Omission of current key accidentals , Errors of A

b. 347

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

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In A, the flat restoring e is written with pencil; therefore, its authenticity is uncertain (see the characterization of A). There is no corresponding sign before the bottom note of this octave in A. The flats are present in all parts of Morch performing this line and in analogous bar 23. The editions feature the correct text.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts