|
b. 149
|
composition: Op. 21, Concerto in F minor, Mvt I
..
The slur of A, when interpreted literally, seems to start from the beginning of the bar and this is how it was reproduced in the editions. However, both the previous slur, led to the beginning of this bar, and con duolo placed only over the second crotchet suggest that the new musical thought should begin just from the second crotchet. The intuition is confirmed by the Chopin entry in FED, in which the ending of the slur added over the roulade in bar 148 clearly separates the g1 crotchet from the further course of music. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Inaccurate slurs in A |
|||||||
|
b. 149-150
|
composition: Op. 21, Concerto in F minor, Mvt I
..
In A, the slur led to the minim in bar 150, uncommonly unambiguously – as for a transition into a new page – was, however, totally falsely reproduced in GE1 (→FE→EE). It is possible that the engraver first took care of the slur in bar 149, which he considered to be whole bar long, just moved to the right. Then he combined both slurs in bar 150, seeing a whole in them, inaccurately written (both slurs reach quite far into the space between the initial minim and the following it quaver, which could have suggested such an interpretation). In the last slur, he also performed the idea of a continuation from the previous bar, without touching the already finished slur in bar 149. GE2 interpreted here the slurs of A more literally and undoubtedly rightly so. category imprint: Differences between sources issues: Inaccurate slurs in A , Errors in GE , GE revisions |
|||||||
|
b. 149
|
composition: Op. 21, Concerto in F minor, Mvt I
..
In FED,
It is also unclear what a possible deletion could mean. If not category imprint: Graphic ambiguousness; Source & stylistic information |
|||||||
|
b. 149-150
|
composition: Op. 21, Concerto in F minor, Mvt I
..
Four little slurs written in A from the grace notes to the opposite notes of the octaves emphasise the expressive character of the octave mini-motifs. The detail was fully reproduced only in GE2 – in the previous editions the majority of the little slurs was overlooked (in EE all of them). category imprint: Differences between sources issues: Errors in EE , Errors in GE , GE revisions |
|||||||
|
b. 150-151
|
composition: Op. 21, Concerto in F minor, Mvt I
..
It is unclear whether the slur of A ends together with the last semiquaver in bar 150 or whether it is supposed to reach further, to the next bar. In GE1 (→FE→EE) the first possibility was adopted, which was changed in GE2. We are in favour of the second interpretation, since the octave at the beginning of bar 151 is undoubtedly the end of the prior phrase. Starting the new thought from semiquavers is confirmed by category imprint: Differences between sources issues: Inaccurate slurs in A , GE revisions |
is crossed by a slightly diagonal line, which can be interpreted as a deletion. However, the meaning of the dash is not certain – in Chopin pupils' copies, there are fragments containing such delicate dashes, drawn probably when discussing problematic places for the pupil. Most frequently, the dashes are of no specific meaning; they simply prove a more intense work on a given fragment.
? Or maybe 
that was valid before the said 
