Issues : Inaccurate slurs in A
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b. 220-221
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composition: Op. 21, Concerto in F minor, Mvt I
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Bar 220 is the last one on the page in A and there is no slur leading to the next bar. However, the finishing of such a slur is written at the beginning of bar 221. We assume that Chopin meant a slur he put in an analogous situation two bars earlier. The incomplete slur of A was precisely reproduced in GE1, yet a second one was added in bar 220. According to us, it is likely that the addition comes from Chopin and it was aimed at indicating – approximately, in order to avoid corrections of the already printed elements, due to the engraver's convenience – the slur embracing a1-b category imprint: Interpretations within context; Differences between sources issues: Inaccurate slurs in A , GE revisions , Authentic corrections of GE , FE revisions |
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b. 222-223
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composition: Op. 21, Concerto in F minor, Mvt I
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The second slur under the groups of small notes is written in A (→GE1→FE→EE) inaccurately – it might have been ink stoppage. In this situation, it is possible that an additional slur, complementing the slurring of this group in GE1 (→FE→EE), was added at Chopin's request as a simplified proofreading of this inaccuracy. In turn, it is difficult to say what the motivation of the engraver of GE1 at the time of dividing the slur in bar 222 was. GE2 restored the slur of A in bar 222 and led the slur in bar 223 in an analogous way. In the main text we give the last version, being, according to us, closest to Chopin's intention. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions , Authentic corrections of GE |
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b. 224-225
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composition: Op. 21, Concerto in F minor, Mvt I
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Although the ending of the slur in bar 225 – on a new page – is not written in A, the slur in bar 224 unambiguously points to an intention of leading the slur to the next bar. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
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b. 225
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composition: Op. 21, Concerto in F minor, Mvt I
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The slur of A, although it ends slightly earlier, is certainly supposed to embrace the entire semiquaver figuration in the L.H. in this bar and this is how it was reproduced in GE2. The division of the slur in GE1 may be a facilitation used by the engraver (in order to avoid a long slur of an atypical shape) or a proofreading, if initially it was only the bottom slur that was printed. category imprint: Differences between sources issues: Inaccurate slurs in A , GE revisions |
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b. 227-228
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composition: Op. 21, Concerto in F minor, Mvt I
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The slur in the L.H. reaches in A only the end of bar 227 (or the beginning of the next one), which may be explained by incompletion (Chopin forgot to end the slur) or abandonment (Chopin resigned from ending the slur in the face of the slur in the R.H.). The second possibility is supported by the fact that until bar 240 no other passage in the L.H. has a separate slur. In this situation, can we consider the slurs of GE1 (→FE→EE) to be inspired by Chopin? In the proofreading, the composer might have added one slur implemented by the engraver as four half-bar slurs, with which he facilitated his work. In this situation, in the main text we suggest extending the slur of A to the beginning of bar 229, in accordance with the most likely interpretation of the slur of the R.H. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Inaccurate slurs in A , GE revisions |
1-c1. This is how it was understood in 
