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. 25 No 1, Etude in A♭ major
In both autographs the moment of starting the slur is not entirely clear. In the case of AI we can rely only on a photography, hence, there is no certainty whether all details of the original are clearly visible on it (it is possible that, e.g., the initial fragment of the slur was written with such a delicate line that it is invisible on the photography). According to us, in both cases there is no doubt that, as far as the shape of the slur is concerned, Chopin wanted to begin the slur in the most natural way possible in this context, i.e. from the beginning of the phrase, hence from the beginning of bar 1 in AI and from the upbeat in A (this is how it was interpreted in GE). Such an interpretation of A is confirmed by the slurs of FE and EE, based on other manuscripts.
Compare the passage in the sources »
category imprint: Graphic ambiguousness; Differences between sources
issues: Inaccurate slurs in A, Pointing slurs
notation: Slurs
