Slurs
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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. 226
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composition: Op. 21, Concerto in F minor, Mvt I
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Additional slurs of GE1 (→FE→EE) are certainly an arbitrary decision of the engraver, who considered their absence to be Chopin's mistake. GE2 removed both the slurs added in GE1 and those drawn from A. The revision may be regarded as justified – the bottom short slurs in A may be a remaining part of the original notation, eventually replaced with longer slurs, embracing two-bar waves of semiquavers. However, in the main text we stick to the notation of A. category imprint: Differences between sources issues: 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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Both the earlier beginning of the slur in the editions and the division of the slur in GE1 are results of an inaccuracy typical for the engraver of this edition. The latter was corrected both in FE (→EE) and GE2. See also the note on slurs in the L.H. category imprint: Differences between sources issues: Inaccuracies in GE |
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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 |
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b. 228-229
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composition: Op. 21, Concerto in F minor, Mvt I
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The slur of A at the end of bar 228 clearly indicates a continuation to bar 229. Therefore, this is the version we adopt in the main text, although in bar 229 (on a new page) there is no ending of the slur. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
