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b. 350

composition: Op. 31, Scherzo in B♭ minor

End of slur in A, literal reading

Slur to B in A, possible interpretation

Slur to e in A, contextual interpretation (→FC→GE, →FE→EE)

2 slurs in A, different interpretation
..

It is difficult to interpret the slur of A, since it ends abruptly under the 3rd crotchet, which does not point to a clear ending thereof. We suggest a few possibilities. To the main text we choose the one that is most similar to the notation of an analogous place (b. 452). This is how it was interpreted in the sources based directly on A, i.e. FE and FC.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 350-351

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

Slur to c1 in A, literal reading

Slur to e1 in GE (→FE,EE,IE)

Slur to f1 suggested by the editors
..

The range of the A slur is musically unjustified – Chopin stopped writing it to avoid the clash with the last quavers in the bar or the  mark (see the description of A in I mov. of the Sonata). In the main text we propose a slur based on Chopin's notation in analogous bars 346-347.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Inaccurate slurs in A , GE revisions

b. 351-352

composition: Op. 39, Scherzo in C♯ minor

Beginning of the slur in EE & FE

GC (→GE)
..

It is not clear which beginning of the slur is definite or authentic (it is easy to find slurring inaccuracies when reading Chopin). Both solutions can be justified in musical terms by phrase structure and harmonic flow: 

  • slur beginning with b. 351 indicates prediction of Scherzo's main theme in LH and emphasises progression to a C minor dominant chord that started in b. 335;
  • slur beginning in b. 352 is a natural continuation of the rhythm of phrasing.

category imprint: Differences between sources

b. 351

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

 in FE (→GE) & EE3

No sign in EE1 (→EE2)

Interpretation of  suggested by the editors

Long accent, our alternative suggestion
..

When interpreted literally, the  in FE (→GE) is puzzling, since  denotes a local dynamic climax, after which one should rather expect a diminuendo, not to mention a crescendo on one note, problematic to perform on the piano. Therefore, we are probably dealing with an inaccuracy or even a mistake. One can imagine two possibilities – the mark was misplaced (e.g. moved to the right with respect to the notation of [A]) or reversed. In the main text, we are inclined to agree with the first possibility due to a similarly distorted  hairpin in the Concerto in F minor, op. 21, the 2nd mov., bar 84. The absence of the mark in EE1 (→EE2) seems to be an oversight, corrected in EE3. 

category imprint: Interpretations within context; Differences between sources

issues: Long accents , EE revisions , Errors in EE , Sign reversal

b. 351

composition: Op. 31, Scherzo in B♭ minor

on 2nd beat in A (→FE→EE)

mid-bar in FC

 at end of bar in GE
..

In the main text we give the  mark in the middle of the bar, as written by Chopin in FC (it is one of the possible interpretations of the notation of A). In turn, the version of GE may be considered an interpretation of the notation of FC, perhaps accurate, since  in FC is close to the next  (cf. also the pedalling of FC 4 bars later). 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in A , Authentic corrections of FC