Issues : Inaccurate slurs in A
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b. 4-5
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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Strictly speaking, the slurs in A may be read in two different ways. The interpretation of GE adopted in the main text underlines both the continuity of the musical thought from the beginning of the work and the moment when the actual theme begins. The same idea was probably behind the imprecise notation of FE, yet it was interpreted differently in EE. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A |
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b. 4-5
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composition: Op. 24 No. 3, Mazurka in A♭ major
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The slur in A (→GE→FE→EE) ends above the quaver g1 in bar 4. The corresponding sign in AI is ambiguous; the slur end does not cross the bar line, yet the shape of the final (added) section points to f1 in bar 5 as the target note. In the further part of the Mazurka slurs in analogous places are visibly longer: although in bars 8-9 the slur of A is unclear, both AI in that place and A in bars 28-29 and 32-33 have slurs reaching f1. In this situation we consider the notation of bars 4-5 to be inaccurate; this decision finds confirmation in the correction visible in A, consisting in lengthening the slur at the transition between bars 28-29. category imprint: Interpretations within context; Differences between sources issues: Inaccurate slurs in A |
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b. 4
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composition: Op. 28 No. 9, Prelude in E major
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In A this bar was written in two lines, which contributed to an ambiguous situation in the L.H. slurring – the slur written at the end of the 1st half of the bar, running from the F category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Inaccurate slurs in A , Uncertain slur continuation |
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b. 4
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composition: Op. 28 No. 22, Prelude in G minor
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a koniec może sugerować połączenie z łukiem w t. 5. Obie możliwości interpretacji końcówki tego łuku znalazły odzwierciedlenie w źródłach, category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 4-5
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composition: Op. 28 No. 20, Prelude in C minor
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The slurs of A between b. 4 and 5 are ambiguous – the slur in b. 4, which ends the line, clearly suggests continuation, which is not confirmed by the slur in b. 5. The four-bar structure of the Prelude, emphasized by the change of register and dynamics, makes us consider the ending of the slur in b. 4 to be inaccurate, which is confirmed by the notation of both later album autographs. category imprint: Graphic ambiguousness; Differences between sources |
demisemiquaver, has no ending in the new line. In the main text we adopt a natural interpretation of that notation – cf. the short slurs in b. 2-3 – adopted in 
