Rhythm
|
b. 412
|
composition: Op. 21, Concerto in F minor, Mvt III
..
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 (→FE→EE). 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 category imprint: Differences between sources issues: GE revisions , Dotted rhythms and triplets , Errors repeated in FE , Errors repeated in EE |
|||||||
|
b. 432-433
|
composition: Op. 21, Concerto in F minor, Mvt III
..
In A, the tie sustaining f2 is written only in bar 433, opening a new page in A. It could have been a reason for its omission in GE (→FE→EE). category imprint: Differences between sources issues: Errors in GE , Inaccuracies in A |
|||||||
|
b. 433-437
|
composition: Op. 21, Concerto in F minor, Mvt III
..
The solution suggested in the main text consisting in treating the quavers on the 1st beat of bars 433 and 437 as the 1st and 3rd notes of a quaver triplet seems to be recommended both due to the musical reasons (in the coda of this movement of the Concerto, there is an absolute supremacy of the triplet movement) and the pianistic ones (hand transfer). Such a notation can be found in Chopin's pieces on several occasions, e.g. in the Sonata in B minor, op. 58, 1st mov., bar 54, the 1st crotchet in the R.H. and the 4th crotchet in the L.H. In the latter, Chopin introduced a rest between two quavers in a pupil's copy. category imprint: Interpretations within context; Editorial revisions |
|||||||
|
b. 448
|
composition: Op. 21, Concerto in F minor, Mvt III
category imprint: Differences between sources issues: Errors in GE |
|||||||
|
b. 454-455
|
composition: Op. 21, Concerto in F minor, Mvt III
..
The third at the beginning of bar 454 and the chord at the beginning of bar 455 are written in A with two voices – both d category imprint: Editorial revisions; Source & stylistic information issues: Inaccuracies in GE |
minor, op. 27 no. 1, bars 
3 are provided with separate stems pointing upwards. This detail was not reproduced in any of the editions, we omit it in our transcriptions, too. Chopin generally had a practical, pianistic approach and would separate the voices only when they moved in different rhythm – cf. the notation of all the remaining crotchets ending this kind of triplet sequences (bars 410-411, 413-415 and analog.); therefore, this strict, "score-like" notation applied in this place is rather an exception.