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b. 203-204
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composition: Op. 23, Ballade in G minor
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In A these bars are written down in an abridged manner as a repetition of b. 202. In addition to the •/• marks, Chopin wrote only slurs over the R.H. part and cresc. - - . category imprint: Differences between sources; Source & stylistic information issues: Abbreviated notation of A |
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b. 203-204
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composition: Op. 23, Ballade in G minor
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According to the available photograph of A, the slur over this motif starts at the beginning of b. 204. If that were true, the slur must be inaccurate, since Chopin put it over bars marked in an abridged manner, devoid of notes. From the musical point of view, such a slur could be possible; however, it seems highly unlikely that Chopin would have wanted to indicate an extremely subtle difference in phrasing in such a vague manner. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 203
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composition: Op. 2, Variations, complete
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As in many other places (see e.g. bars 271-272), the engraver of GE1 ignored the differentiation of staccato marks and replaced the dots with wedges. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 203-219
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composition: Op. 49, Fantaisie in F minor
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In A the B major section spans four lines, which means that there are three transitions between the lines. In all three places the slurs at the end of the lines clearly suggest that they should be continued, which is not confirmed by the slurs at the beginning of the next lines, starting from the 1st note (bar 203, 213 and 219). Such situations are frequent in Chopin's autographs, and their interpretation is ambiguous – there are cases in which a slur going beyond the bar line must be considered inaccurate and cases in which breaking a slur is musically unjustified. In the discussed bars we are clearly dealing with the latter, which was accurately recognised already in the first editions, providing continuous slurs. category imprint: Graphic ambiguousness; Source & stylistic information |
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b. 203
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composition: Op. 49, Fantaisie in F minor
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In FE the part of the quaver beam to the right of g EE basically repeated the FE version, yet the semiquaver was placed after the 3rd quaver of the L.H. triplet, contrary to the convention used by Chopin and kept in FE. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE , Dotted rhythms and triplets , Dotted or even rhythm |
1 is slightly more tilted than the preceding section. It could mean that changes were being made in print, which would suggest a Chopinesuqe correction to the rhythm in this place. However, it is not certain, hence in the main text we keep the