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b. 253-257

composition: Op. 35, Sonata in B♭ minor, Mvt II

..

In GC the bars are not written out – see the note in bar 189.

category imprint: Source & stylistic information

issues: Abbreviated notation of A

b. 253

composition: Op. 35, Sonata in B♭ minor, Mvt II

No slur in GC (→GE)

Slur in FE (→EE)
..

The missing ending of the slur is certainly an inaccuracy of GC (→GE).

category imprint: Differences between sources

b. 253-254

composition: Op. 21, Concerto in F minor, Mvt I

1 slur in A & GE2

2 slurs in GE1 (possible interpretation→FE→EE)
..

The inaccurate, ambiguous notation of GE1 – the slur in bar 253, the last one in line, indicates a continuation, yet it is not confirmed by the beginning of the slur in bar 254 – was interpreted in FE (→EE) as separated slurs.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE

b. 253-255

composition: Op. 21, Concerto in F minor, Mvt I

No L.H. slurs in A (→GE1→FE)

2 slurs in EE

1 slur in GE2
..

The slurs in the L.H., added in EE and GE2, cannot be authentic, since Chopin did not participate in the creation of those editions. The need to add slurs in the L.H. could have been provoked by the slurs added in GE1 in bar 256.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 253

composition: Op. 21, Concerto in F minor, Mvt III

 at end of bar in sources

 at beginning, suggested by the editors
..

While writing , Chopin probably used a former convention, according to which a sign was put near to the middle of the range of its validity (in this case bars 253-254). This kind of notation is probably to be found in, e.g. the Etude in C major, op. 10 no. 1, bar 45.

category imprint: Interpretations within context; Editorial revisions

issues: Centrally placed marks