mUltimate Chopin

Op. 21, Concerto in F minor, Mvt I

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Slurs

b. 192-194

composition: Op. 21, Concerto in F minor, Mvt I

Slur in bars 192-194 in A & GE2

Slur in bar 193 in GE1 (→FE→EE)
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The slurs of A (our main text), showing precisely the phrasing of the melody in the topmost voice, was replaced in GE1 with slurs embracing entire bars. It is a characteristic example of a schematic and disrespectful approach of the engraver of this edition to Chopin slurs. The authentic slurs (except for the ending of the slur in bar 194) were restored in GE2.  

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions

b. 194-195

composition: Op. 21, Concerto in F minor, Mvt I

Slur to bar 195 in A

Slur to end of bar 194 in GE (→FE→EE)
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The slur of A (our main text) was moved in GE1 (→FE→EE), so that it embraces entire bar 194. This erroneous interpretation was corrected in GE2 only in the initial part of the sign.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 199-200

composition: Op. 21, Concerto in F minor, Mvt I

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In GE (→FE→EE) the slur erroneously starts in the middle of bar 199.

category imprint: Differences between sources

issues: Errors in GE

b. 201-202

composition: Op. 21, Concerto in F minor, Mvt I

Slur in A

2 slurs in GE (→FE→EE)
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In this case, it is difficult to consider the slurs of GE (→FE→EE), contrary to the unambiguous slur of A, to be a schematic distortion, typical for GE1, since they correspond to the motifs of which the phrase is built, and not to the metric units. However, a possible proofreading by Chopin is uncertain, since there are no traces of corrections in any of the few studied copies of GE1 and GE1a. 

category imprint: Differences between sources

issues: Authentic corrections of GE

b. 201-202

composition: Op. 21, Concerto in F minor, Mvt I

g1 tied in A

g1 repeatec in GE (→FE→EE)
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Similarly as in bars 199-200, the tie of g1 was interpreted in GE (→FE→EE) as a phrase mark, combining the c1-e1 minim in bar 201 with g1 in bar 202. One has to admit that the notation of A is unclear in this case, even if we consider the Chopin way of notation of ties – Chopin wrote the part of the tie falling in bar 201 longer than usual, as he probably wanted to make the notation more legible. However, it was counterproductive: the beginning of the "longer" tie does not reach g1 anyway and it points to e1. The correct interpretation of the tie is indicated by the shape of its ending in bar 202, typical for ties, and the tie of g1 in the 1st violin part in Morch.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , Errors in GE