Issues : Inaccurate slurs in A
|
b. 345-346
|
composition: Op. 21, Concerto in F minor, Mvt III
..
This is the last bar on a page in A, which contributes to the uncertainty concerning the range of the slur started on the 2nd beat of the bar – the overpulled ending of the slur suggests continuation in the next bar; however, on a new page, in bar 346, there are no slurs. In GE (→FE→EE), the slur was led to the 1st chord in bar 346, which is almost certainly an accurate interpretation – cf. the slurring of the part of violin I in Morch as well as analogous bars 21-22. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , GE revisions |
||||||||
|
b. 376-377
|
composition: Op. 21, Concerto in F minor, Mvt III
..
Bar 376 is the last one on the page in A, which provoked an uncertainty concerning the issue of slurring – the slur in this bar clearly points to continuation, yet in bar 377 a new slur begins. The easiest interpretation of this notation is the version of GE1; however, the version of FE and one slur of GE2 can be considered to be justified. In the main text we suggest the version of GE2, due to the analogy with bars 32-33. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A |
||||||||
|
b. 376-377
|
composition: Op. 21, Concerto in F minor, Mvt III
..
In A, the quavers in bar 376, the last on this page, are encompassed with a slur, which clearly points to continuation, yet in bar 377 there is no ending of this slur. Chopin did not write any slurs in the L.H. until the end of this Solo, hence it seems that he renounced the slurring in the L.H. in this fragment, considering the slurs in the R.H. to be enough. Due to this reason, in the main text we omit the described fragment of the slur. It may be possible that the absence of continuation of the slurring is only a result of haste, particularly since in analogous bars 32-33 the slurs in A are written in the parts of both hands. Therefore, the slur of GE1, completed after the R.H., and the slurs of EE and GE2 can be considered to be compliant with Chopin's intention. category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Inaccurate slurs in A , GE revisions , Authentic corrections of GE |
||||||||
|
b. 396-397
|
composition: Op. 21, Concerto in F minor, Mvt III
..
The slur of A clearly refers to the top voice, hence assigning it in the editions to the bass voice is almost certainly erroneous. However, the notation of A is inaccurate, as far as the range of the slur is concerned, since it does not go beyond bar 396, contrary to the unambiguous slurring of the part of bassoon I (and of the remaining instruments), also in analogous bars 52-53. Therefore, in the main text we interpret this slur as leading to f1. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
||||||||
|
b. 409-419
|
composition: Op. 21, Concerto in F minor, Mvt III
..
In A, the slurs over each of the descending figures in the R.H. in bars 409, 410, 417 and 418 reach the c3-f3 fourth at the beginning of the next bar (the first of them, slightly shorter, is an exception, yet in this case Chopin certainly had a longer slur in mind, too, which is proved by the slur of the original crossed out notation of bars 409-411). In spite of this, in GE1 (→FE→EE) all four slurs end with the last quaver in these bars. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions , Inaccuracies in A |
