Issues : GE revisions
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b. 253-255
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composition: Op. 21, Concerto in F minor, Mvt I
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The slurs in the L.H., added in EE and GE2, cannot be authentic, since Chopin did not participate in the creation of those editions. The need to add slurs in the L.H. could have been provoked by the slurs added in GE1 in bar 256. category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 255
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composition: Op. 21, Concerto in F minor, Mvt I
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All minor differences in the range of this sign appearing in the editions are certainly of random nature. In this case, the sign certainly means a "very long" accent, hence shifts both in GE1 and GE2 distorted its sense. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 255-256
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composition: Op. 21, Concerto in F minor, Mvt I
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In GE1 (→FE→EE) the slur is broken between the bars, in spite of the clearly combined slurs of A. category imprint: Differences between sources issues: Corrections in A , GE revisions |
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b. 255-256
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composition: Op. 21, Concerto in F minor, Mvt I
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A possibility that Chopin added such slurs in the L.H. in bar 256 in the proofreading of GE1 has to be firmly rejected. However, he could have added there the same slur as in the R.H., which was implemented by the engraver in a distorted form. It allows to confer a certain likeliness of authenticity on the slur of GE2. In the main text, we stick to the notation of A, since the need to perform the part of the L.H. with the same phrasing and articulation as in the R.H. is obvious here. The slurs of EE, being a completed version of the erroneous slurs of GE1 (→FE), are certainly arbitrary. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 256
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composition: Op. 21, Concerto in F minor, Mvt I
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There is no category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
from 1st third in 
before the top note of the 7th third in