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b. 377
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we suggest a likely reconstruction of the notation of [A]. However, it is also the sources' literal interpretation of the slur that could correspond to Chopin's intention. category imprint: Editorial revisions issues: Tenuto slurs |
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b. 377
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composition: Op. 11, Concerto in E minor, Mvt III
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Like in bar 373, we consider the missing dot prolonging f2 to be an inaccuracy of notation. Our view was shared already by the revisers of GE and EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in FE , GE revisions |
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b. 377
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composition: Op. 2, Variations, complete
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In AsI the last three staccato marks are dots, and not wedges, as the first three and as it is in the published version. The difference between the markings of the first and second half of the bar also concerns slurs – see the next note. All these markings are only in the R.H. part and only in this bar, hence it seems that Chopin was checking here what different variants of markings of this figuration look like. Having eventually opted for wedges and two-note slurs, he wrote them in A in the entire passage. category imprint: Differences between sources; Corrections & alterations issues: Wedges |
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b. 377
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composition: Op. 2, Variations, complete
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As was the case with staccato dots – see the previous note – the three-note slurs in the 2nd half of bar 377 are probably an attempt at finding the best way to mark articulation of the final passage of the Variations. Eventually, Chopin opted here for shorter slurs, but in a similar context in the finale of the Concerto in F minor, Op. 21, bars 506-510, he wrote slurs encompassing 3 notes. category imprint: Differences between sources; Corrections & alterations |
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b. 377-381
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composition: Op. 2, Variations, complete
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The slur in AsI ends abruptly at the end of the page, clearly beyond the final bar line in bar 379. Therefore, it is almost certain that the slur was supposed to be encompassing the entire final passage, which we suggest as a contextual interpretation of this slur. It is uncertain whether Chopin ever considered using this slur together with the short slurs and the staccato marks of the final version (it would then be a phrase mark). The long slur was added probably earlier than the remaining marks of AsI visible in bar 377. It is indicated by a clear difference in the line thickness, suggesting the use of a different pen. category imprint: Differences between sources |
