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Issues : Accompaniment changes
b. 75
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we give G category imprint: Differences between sources; Corrections & alterations issues: Errors resulting from corrections , Accompaniment changes , Authentic corrections of FE |
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b. 243-244
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composition: Op. 21, Concerto in F minor, Mvt III
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There is an evident non-compliance of the part of the L.H. in A with the cello and double bass sequence in Morch within ½A: category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Authentic corrections of GE |
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b. 317-318
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composition: Op. 21, Concerto in F minor, Mvt III
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In Morch Chopin shortened the value of the g-e1-b category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
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b. 352
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composition: Op. 21, Concerto in F minor, Mvt III
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A more accurate specification of the unexpected B category imprint: Differences between sources |
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b. 366
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composition: Op. 21, Concerto in F minor, Mvt III
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Both the change introduced in GE1 and the one in FE definitely come from Chopin who was looking for the smartest connection of this bar with the following one, as far as the piano skills and harmony are concerned. At the same time, he most probably wanted to emphasise the chromatic movement of the bass, hence the arbitrary version of EE2 certainly does not correspond to his intention. The last crotchet in bar 368 underwent the same transformation, which excludes a possibility of a mistake in both versions. category imprint: Differences between sources issues: Accompaniment changes , Authentic corrections of FE , Authentic corrections of GE |