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b. 199-200
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composition: Op. 11, Concerto in E minor, Mvt I
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Two whole-bar slurs in FE (→GE1→GE2) must be inaccurate. The slur encompassing the rest in bar 199 is probably a remaining part of the original rhythm (without the rest inserted into the sequence of the semiquavers), whereas the division of the slur on the bar line may be, e.g. a result of the change of line in [A]. In EE, only the second of the slurs was reproduced, whereas in GE3, the first one was divided over the rest. In the main text, we give slurs modelled after the previous two bars, including the correction written in FED. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 199-201
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composition: Op. 11, Concerto in E minor, Mvt I
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Chopin did not always mark arpeggios of tenth and broader chord, perhaps considering it to be obvious. Arpeggio in analogous bar 554 confirms that the absence of the wavy lines in bars 199 and 201 is most probably simply an inaccuracy of notation. The marks were added in EE2 (→EE3). category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 199-200
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composition: Op. 11, Concerto in E minor, Mvt III
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The five-quaver slur in bars 199-200 was probably added in the last phase of proofreading of FE, which is indicated by its absence in GE. Leaving the 2nd quaver in bar 200 without slur may suggest different possibilities of phrasing and articulation. However, it is most probably an inaccuracy of notation, since in similar motifs the note, in the vast majority of situations – both in FEpiano and in the sources of the orchestral part – is connected to the previous one with a slur. Due to this reason, in the main text we suggest adding a respective slur (in GE3, it was added as the only slur in this place). There is a similar situation in bar 444. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Authentic corrections of FE |
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b. 199
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composition: Op. 22, Polonaise
category imprint: Differences between sources |
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b. 199-200
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composition: Op. 44, Polonaise in F♯ minor
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The tie to b was reproduced correctly only in EE2 (→EE3). The inaccuracies of the remaining editions resulted from the Chopinesque manner of writing down ties as short, quite thick curved lines, not running from a note to the other one, but placed next to the attached note (cf., e.g. the first page of the autograph of the Mazurka in G major, Op. 50 No. 1, particularly the e-e1 octaves in b. 18-20 and 22-24). In the discussed bars of the Polonaise, the parts of both hands (4 voices!) are written down on the bottom stave, which could have been an additional obstacle to the correct interpretation and reproduction of that tie. There is a similar situation two bars later. The slur of FE (→EE) over b. 198-200, which ends in the same place, is discussed separately. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in GE |
