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b. 255-256
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composition: Op. 21, Concerto in F minor, Mvt I
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In GE1 (→FE→EE) the slur is broken between the bars, in spite of the clearly combined slurs of A. category imprint: Differences between sources issues: Corrections in A , GE revisions |
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b. 255
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composition: Op. 21, Concerto in F minor, Mvt I
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The fingering coming probably from Chopin – compatible with the authentic fingering of the Etude in G category imprint: Differences between sources |
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b. 255-256
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composition: Op. 21, Concerto in F minor, Mvt I
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A possibility that Chopin added such slurs in the L.H. in bar 256 in the proofreading of GE1 has to be firmly rejected. However, he could have added there the same slur as in the R.H., which was implemented by the engraver in a distorted form. It allows to confer a certain likeliness of authenticity on the slur of GE2. In the main text, we stick to the notation of A, since the need to perform the part of the L.H. with the same phrasing and articulation as in the R.H. is obvious here. The slurs of EE, being a completed version of the erroneous slurs of GE1 (→FE), are certainly arbitrary. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 255
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composition: Op. 21, Concerto in F minor, Mvt I
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The traces of corrections, visible in GE1, prove that the slurs were initially divided on the bar line, which means that bars 254-256 were embraced – contrary to the clear notation of A – with three whole-bar slurs. category imprint: Source & stylistic information issues: Authentic corrections of GE , Corrected slurs of Op. 21 in GE1 |
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b. 255-256
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composition: Op. 21, Concerto in F minor, Mvt I
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In Morch Chopin added a tremolo of timpani together with dynamic indications. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
minor, Op. 25 No. 6, bars 
