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b. 234-235

composition: Op. 49, Fantaisie in F minor

Slur to b. 235 in A, contextual interpretation

No slur in GE & EE2

Slur in b. 234 in FE (→EE1)
..

In A the slur in bar 234, last on a page, clearly suggests that it should be continued, yet there is no ending thereof on the following page. The fact that Chopin indeed wanted to lead the slur to the beginning of bar 235 is confirmed by the slur (consistent in all sources) in analogous bars 154-155. The FE slur (→EE1) suggests that Fontana did not lead the slur to bar 235 in [FC]. In EE2 the slur was deleted, most probably after the GE version, in which the A slur was overlooked.

category imprint: Differences between sources

issues: EE revisions , Inaccurate slurs in A , Errors in GE , Uncertain slur continuation

b. 234

composition: Op. 49, Fantaisie in F minor

Long accent in A, possible interpretation 

 in A, contextual interpretation

No sign in GE

Shorter  in FE (→EE)
..

In A the mark looks like a typical long accent, yet due to the graphic context, it can also be interpreted as a  hairpin encompassing almost the entire bar. This bar is exceptionally narrow in A, since Chopin wanted to fit it on the same page so that it does not open a new one. A comparison with analogous bar 154 is an argument for diminuendo, and this is the interpretation that we suggest in the main text. The FE version may be an attempt at finding a compromise interpretation of the A notation (by the copyist or by the engraver), while in GE the mark was overlooked (along with the slur and ten.).

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Scope of dynamic hairpins , Errors in GE

b. 234

composition: (Op. 4), Sonata in C minor, Mvt IV

..

In the main text we add a cautionary  to c1.

category imprint: Editorial revisions

b. 235-236

composition: Op. 43, Tarantella

 
 
..

In GE the slur extending over the phrase breaks at the 235 and 236 barline. The difference most probably arises from the fact that the bar line is at the same time the breaking line of the systems both in A and other sources, except GE.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 235

composition: Op. 42, Waltz in A♭ major

No e1 in chord in FE0 (→FE,EE,FEG→GE1)

e1 in chord in GE2 (→GE3)
..

GE2 (→GE3) added an arbitrary e1 to the chord on the 3rd crotchet. On the other hand, it cannot be entirely excluded that lack of this note is an oversight of the engraver of FE0, unnoticed by Chopin.

category imprint: Differences between sources

issues: GE revisions