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. 4), Sonata in C minor
Op. 25 No 2, Etude in F minor
Same as in the case of slurs, in the main text we give 4 portato dots, on the basis of the authority of AW and FE. However, one has to state that in the majority of the sources coming from [A] one could see 5 dots. Therefore, it is possible that it is indeed Chopin's last intention in this respect (the version of AW would be simply earlier then and FE – inaccurate).
However, there is also a possibility that the number of dots should be related to the slurring – continuous slur in CDP and EE to determine the performance in which after d
3 there is a breath and 4 portato quavers requires writing 5 dots. In turn, after separating the last 4 quavers with a slur, it is only they that need dots in order to indicate the portato articulation. The latter, independently from source issues, seems to be clearer.
Compare the passage in the sources »
category imprint: Differences between sources
notation: Articulation, Accents, Hairpins
