Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 21, Concerto in F minor, Mvt II
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Slur from 2nd semiquaver in A, more probable reading |
The moment of the slur's beginning in A is not entirely clear – the sign may be understood as a part of the portato indication (together with dots) for five semiquavers played on the 2nd beat of the bar; however, one can also see here a rhythmic mark (having implications for the phrasing) over the entire sextuplet. According to us, the first possibility is more likely here and this is the version we give in the main text. The editions adopted the second version, which was certainly influenced by the routine approach of the engraver of GE1 – see the adjacent note on staccato dots.
Compare the passage in the sources »
category imprint: Graphic ambiguousness; Differences between sources
issues: Inaccurate slurs in A
notation: Slurs
