Issues : Inaccurate slurs in A

b. 53-54

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

Slur to b in A

Slur to c1 in GE (→FEEE)

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The slur of A, although it does not exceed the bar line, undoubtedly concerns the three notes, hence the interpretation of the editions is certainly erroneous.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A

b. 59

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

Slur in A

GE1 (→FEEE)

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The slur of A is not absolutely unambiguous, yet its interpretation in GE1 (→FEEE) is certainly erroneous. The slur in GE2 may be considered an acceptable interpretation; however, in the main text we assume that in A each of six slurs in bars 59-62 embraces a motif made of four semiquavers and a crotchet. See also bar 61.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions

b. 62

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

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 63-64

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

Slur in A (contextual interpretation)

No slur in GE (→FEEE)

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The slur, started in A in bar 63, the last on the page, was not finished on a new page. According to us, one should assume that Chopin's intention was to write in the part of the L.H. a slur of the same range as in the complete slur of the R.H.

category imprint: Interpretations within context; Differences between sources

issues: Inaccurate slurs in A , GE revisions , Errors of A

b. 72-73

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

End of slur in A, contextual interpretation

GE (→FEEE)

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When interpreted literally, the slur of A ends over the penultimate semiquaver in bar 72. While the very inaccuracy of notation is hardly disputable, it is uncertain where the slur was supposed to reach, according to Chopin's intention. The interpretation of the editions is certainly possible, yet, according to us, embracing the entire first musical thought (to the F1-F octave in bar 73) is more likely, showing the overlapping segments of this introduction to the 1st theme in the solo part better. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions