Verbal indications
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b. 498-501
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composition: Op. 21, Concerto in F minor, Mvt III
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GE1 (→FE→Ee) overlooked the dashes marking the range of the dynamic change. Similarly in bars 507-509 (and in many other places). category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 507-509
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composition: Op. 21, Concerto in F minor, Mvt III
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Just like in bars 498-501, GE1 (→FE→EE) overlooked the dashes marking the range of the dynamic change. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 511-514
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composition: Op. 21, Concerto in F minor, Mvt III
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It is uncertain how the version of GE came to life, yet it is difficult to imagine that it could have come from Chopin in this form. This version was probably based on the conviction that the dynamics of the last chords has to be indicated in the piano part, too, which eventually led to the repetition of the markings written in Morch, not by Chopin. The completion of the piano part could have been ordered by the reviser, although one cannot exclude that the action could have been inspired by Chopin. In the second case, the composer probably had one category imprint: Differences between sources issues: GE revisions , Authentic corrections of FE |
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