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1940). Although ready for publication several years earlier, and of course composed before the E minor Concerto, the F minor was released at a respectable distance from Chopin's 'warhorse' for commercial reasons (not, as some have claimed, because Chopin had lost the parts en route to Paris or had left the score in Warsaw), just as his 'third concerto', possibly available for publication as early as 1834, was delayed to avoid interference with Op. 38 It is not known what documents served as Stichvorlagen for these various editions of Op.
In the Rondo, however, a lack of contrast stifles the performance, his participation in the triumphant final chords (scored for orchestra alone) sounding absurd. Adam Harasiewicz's first movement is also forlorn and his Rondo theme deadpan, while his Romance is cack-handed, some abruptly rolled chords especially incongruous after the tender melody. Still, his rendition is better than Mieczysbw Horszowski's drive-through performance or Garrick Ohlsson's saccharine Romance, its mawkishness shattered by a punched-out melody.
21 basically follows Chopin's own tutti reductions, the accompaniment to Op. 11 omits melodic lines and contrapuntal textures in various key passages, specifies bars of rests while the soloist is also silent, and introduces odd leaps between registers and other anomalies. Full scores Kistner published the first orchestral score for Op. 11 during the mid to late 1860s (plate no. 3050), roughly contemporaneous with Breitkopf & 35 Chopin: the piano concertos Hartel's of Op. 21 (plate no. 43 Copied by hand, the latter arranges the instruments in modern fashion (winds, brass, timpani, piano, strings), unlike the partial autograph, this being only one respect in which the two differ.