Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 49, Fantaisie in F minor
In A the B major section spans four lines, which means that there are three transitions between the lines. In all three places the slurs at the end of the lines clearly suggest that they should be continued, which is not confirmed by the slurs at the beginning of the next lines, starting from the 1st note (bar 203, 213 and 219). Such situations are frequent in Chopin's autographs, and their interpretation is ambiguous – there are cases in which a slur going beyond the bar line must be considered inaccurate and cases in which breaking a slur is musically unjustified. In the discussed bars we are clearly dealing with the latter, which was accurately recognised already in the first editions, providing continuous slurs.
Compare the passage in the sources »
category imprint: Graphic ambiguousness; Source & stylistic information
issues: Inaccurate slurs in A, Uncertain slur continuation
notation: Slurs
