b. 8-9
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composition: Op. 21, Concerto in F minor, Mvt I
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While the slur of A ends in bar 9, it is not obvious whether it is actually supposed to reach the F quaver. Therefore, the interpretation of GE (→FE→EE) is equally justified. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 10
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composition: Op. 21, Concerto in F minor, Mvt I
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The fact of shortening the slur in GE (→FE) is a typical example of an inaccuracy resulting from a routine, "string" approach to slurring. The extension of the slur in EE was presumably performed by analogy with bar 12. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE |
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b. 10
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composition: Op. 21, Concerto in F minor, Mvt I
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The use of pedal may be necessary to preserve the sound of the B minim. category imprint: Editorial revisions |
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b. 12
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composition: Op. 21, Concerto in F minor, Mvt I
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The slur could have been added by Chopin in the proofreading of GE1 (→FE→EE), however, even if it was so, it is hard to assume that he wanted to embrace with it only a part of the bass's motif. In the face of doubts concerning the authenticity of both the slur as such and its range, in the main text we do not include this sign. In turn, we suggest a slur embracing the entire sequence of bass in this bar as an acceptable variant. See also the note on the hairpin. category imprint: Differences between sources issues: Authentic corrections of GE |
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b. 12
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composition: Op. 21, Concerto in F minor, Mvt I
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The missing hairpin is certainly a mistake of the engraver of GE1, who perhaps omitted the sign, not knowing where to put it (it is practically impossible to convey the notation of A in print). According to us, the following misunderstanding also cannot be excluded: the engraver interpreted the bottom, clearer arm of the hairpin as a slur. category imprint: Differences between sources issues: Errors in GE , GE revisions |