Issues : Inaccurate slurs in A
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b. 149
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composition: Op. 21, Concerto in F minor, Mvt I
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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 |
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b. 149-150
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composition: Op. 21, Concerto in F minor, Mvt I
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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 |
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b. 150-151
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composition: Op. 21, Concerto in F minor, Mvt I
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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 |
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b. 160
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composition: Op. 21, Concerto in F minor, Mvt I
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When interpreted literally, the slurs of A embrace four quavers and coincide with the fifth one. The first is certainly inaccurate: its shape does not indicate an intention of leading it to G. In the case of the second slur, it is already less obvious, yet a comparison with analogous bars (see bar 159) makes us believe that it is also a possible mistake of the composer. The version of the editions is a result of the schematic approach of the engraver of GE1, convinced of, as it seems, the inaccuracy of the notation of A, which was not justified in this bar. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
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b. 161-162
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composition: Op. 21, Concerto in F minor, Mvt I
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We consider the slurs of A in bar 161 to be original or erroneous; in the main text we replace them with slurs modelled after analogous bars 163, 311 and 313. We interpret the slightly inaccurate slurs in bar 162 in accordance with the scheme used by Chopin in similarly shaped and marked bars 159, 165-168, and particularly 312 and 314. The slurs of GE1 (→FE→EE) in bar 162 are certainly arbitrary. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions |
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