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b. 354

composition: Op. 2, Variations, complete

Tie to b1 in AsI, A (→possible reading of GE1→EE) & GE3

Slur over 4 quavers in GE1 (→FE,GE2→FESB)
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The curved line written in A between the voices is at the pitch of b1 and almost certainly indicates that the dotted crotchet at this pitch should be sustained, as clearly marked by Chopin in AsI (both in the piano part and in the clarinet II part). In GE1 (→GE2) the endings of the tie are placed lower and not horizontally, which makes the tie seem to concern 4 quavers in the bottom voice. This is how it was reproduced in FE and FESB (as a slur), whereas in EE and GE3 it is undoubtedly a tie to b1.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 354

composition: Op. 2, Variations, complete

No slur in AsI & A

Slur in GE (→FE,EE)
..

The slur under the last three quavers of the R.H. bottom voice added in GE (→FE,EE) is questionable, as far as its possible authenticity is concerned. The slurring of this bar could actually be considered incomplete; however, a slur of such range does not correspond to any tangible structural unit (motif), while legato articulation is indicated in the sources of the orchestral part for the entire 6-note motif of the bassoon I from the 2nd quaver in the bar to the beginning of bar 355. According to us, the slur could have resulted from a misunderstanding in interpreting A or an entry in the proof copy of GE1 (perhaps Chopinesque). Taking into account the above, we do not include this slur in the main text.

category imprint: Differences between sources

issues: GE revisions

b. 354

composition: Op. 2, Variations, complete

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In all sources the bass f is provided with a wrong rhythmic value – a minim in AsI and a dotted minim in A (→GE→FE,EE). The mistake could have resulted from copying the notation of the bassoon II part, in which this note is played from the beginning of the bar and is provided with such a value – a minim in AsI and a dotted minim in GEork (→FEork). In the main text we give the correct value, written down in accordance with the division of the beams of the bottom voice on the top stave in A.

category imprint: Interpretations within context; Differences between sources

issues: Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE , Errors in FESB

b. 355-356

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

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In the part of the L.H. these bars are written in A in an abbreviated manner, as repetitions of bar 354. The bars were written in full in GE (→FE→EE).

category imprint: Source & stylistic information

issues: Abbreviated notation of A

b. 355

composition: Op. 11, Concerto in E minor, Mvt I

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In the main text, we omit the sharps before the D-d octave, which are poorly justified in this context. The marks were removed already in GE3.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals , Last key signature sign