Issues : Authentic corrections of EE
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b. 130-134
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The absence of the slur in FE is certainly of an accidental nature – all slurs in bars 121-142 were overlooked. Moreover, the inaccuracy of the slur of GC (revised in GE) is unquestionable. The basis of the main text is the added slur of EE, most probably by Chopin. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Errors in FE , GE revisions , Inaccuracies in GC , Authentic corrections of EE |
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b. 132-137
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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In this phrase the slur in GC (→GE) begins on the 2nd beat of bar 132, which we consider to be a possible inaccuracy, as in other similar situations, the slurs in GC generally start from the beginning of the bar. Therefore, in the main text we suggest a slur running from the beginning of the bar. The slur of EE1, in spite of having been printed most probably on the basis of Chopin addition in the base text, is certainly incomplete and most probably inaccurate (see the note to bar 137), whereas its placement over the top stave is probably related to the applied in this edition graphical layout, in which, from the 2nd beat in bar 134, the part of the R.H. is written entirely on the top stave (cf. bars 96-100). category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions , EE inaccuracies , Authentic corrections of EE |
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b. 137
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The continuous slur in EE is probably a result of a misunderstanding, related to the adjustment of the slurs to the changed graphical layout – cf. the note on slurs in bars 132-137. In the main text, we give hence the beginning of the slur after GC (→GE). See also bars 140-141. category imprint: Differences between sources issues: EE inaccuracies , Authentic corrections of EE |
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b. 140-141
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The range of the slurs in GC is unclear due to the nonchalant way of their notation, as well as due to the transition into the new line of the text (from bar 141). We consider the division of the slurs at the bar line to be the literal interpretation, as at the beginning bar 141 does not include the ending of the previous slur. Such divided slur is also in EE, based on the base text, in which the slurs were most probably added by Chopin (in this fragment). Therefore, we give the version in the main text. According to us, however, the interpretation of the slurs of GC with division after the 1st crotchet in bar 141 is more justified. The slur of GE is rather an emergency option, not determining the phrasing, than an attempt to reproduce the notation of GC. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Inaccuracies in GC , Authentic corrections of EE |
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b. 145-147
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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Both notations of the slur in bars 145-146 – GC (→GE) and FE3 (→FE4) – mean generally the same, yet the notation used in FE accentuates the necessity of holding the full rhythmic value of the chord in bar 146, which is often not observed in the case of the last note under the slur. Chopin would often use this notation, cf., e.g., 1st mov., bar 176, the Etude in A minor, Op. 25 No. 4, bar 50, in C category imprint: Interpretations within context; Differences between sources issues: Authentic corrections of FE , Authentic corrections of EE , Tenuto slurs |
2 in 
minor, Op. 25 No. 7, bars 22, 24, 28 and 30 or the Mazurka in B minor, Op. 33 No. 4, bars 2, 4 and analog.