Slurs
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b. 38
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composition: Op. 26 No 1, Polonaise in C♯ minor
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The lack of slur to the bottom voice of the R.H. is almost certainly an arbitrary decision of the engraver of FE1, who, aiming at a faithful reproduction of the graphic layout of A (the dots and slur over the notes, between the R.H. voices), was not able to fit the slur in a legible manner. category imprint: Differences between sources issues: Errors in FE |
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b. 38
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composition: Op. 26 No 1, Polonaise in C♯ minor
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In EE the engraver overlooked the slur in the L.H. category imprint: Differences between sources issues: Errors in EE |
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b. 40
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composition: Op. 26 No 1, Polonaise in C♯ minor
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The slur of A, although poorly written, is most probably supposed to begin in the middle of the bar, together with the continuation of the melody of the top voice. However, in FE (→GE1,EE) the slur started erroneously already from the 1st note in bar 40. In GE2 (→GE3→GE4→GE5) an accurate revision was performed, by writing the slur from the beginning of the triplet. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A , GE revisions |
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b. 42
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composition: Op. 26 No 1, Polonaise in C♯ minor
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In GE there is no tie sustaining d category imprint: Differences between sources issues: Errors in GE |
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b. 44
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composition: Op. 26 No 1, Polonaise in C♯ minor
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Due to the necessary shift of staccato dots in print under the quavers in the bottom voice in the R.H. (in A Chopin wrote dots on the side of the note heads), we suggest adding a complementary articulation slur (same as in the L.H.), also in analogous bar 76. Chopin applied a similar solution in bar 38. category imprint: Editorial revisions |
2, the last note of the written grupetto. It is undoubtedly a mistake of the engraver.
