Issues : Inaccurate slurs in A
|
b. 8
|
composition: Op. 21, Concerto in F minor, Mvt II
..
Numerous corrections on the 3rd beat of the bar (erasures and deletions) forced Chopin to write a group of three semiquavers on an adjacent stave. The group is embraced with a slur, which almost certainly means that it is a triplet. On the main stave, however, there is another slur in this place, starting from the previous semiquaver. The slur was most probably written earlier and concerned one of the deleted versions of this place. In this situation it is uncertain whether the new slur (over the triplet) was, according to Chopin, supposed to complement the previous (as a slur separating an irregular group) or whether Chopin inadvertently left a longer slur and the slur over the triplet was supposed to replace it. According to us, the latter is the most likely (cf. bar 13), hence we give this version in the main text. An alternative interpretation assumes a later addition of the longer slur as the final one. This is generally the way it was understood in GE (→FE→EE1→EE2), although due to a different interpretation of the rhythm, the slur embraces there the entire 3rd beat of the bar. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccurate slurs in A |
|||||||||||
|
b. 12
|
composition: Op. 21, Concerto in F minor, Mvt II
..
The two-quaver slur of A is most probably inaccurate (cf. similar figures in, e.g., the previous bars). Therefore, in the main text we give a longer slur, corresponding to the slurring of analogous figures. A similar solution was adopted in GE2. The half-bar slur of the remaining editions is certainly an arbitrary decision of the engraver of GE1. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions |
|||||||||||
|
b. 14-15
|
composition: Op. 21, Concerto in F minor, Mvt II
..
The slur of A undoubtedly begins from the 2nd quaver of the bar, hence the fact that it starts earlier in GE1 (→FE) is most probably a mistake. On the other hand, it is uncertain which note the slur of A is supposed to reach. A comparison with two analogous situations (bars 33 and 82) as well as separation of bass notes through articulation performed by Chopin in the entire movement tip the scales in favour of the slur ending together with the last chord in the bar. The interpretation adopted in the main text is present also in GE2. In GE1 the slur in bar 14 ends in a similar manner, yet in bar 15 one can see traces of deletion of the slur reaching the 1st quaver. It explains leading the slur from bars 14 until the beginning of bar 15 in FE. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Errors in EE , Inaccurate slurs in A , GE revisions |
|||||||||||
|
b. 15
|
composition: Op. 21, Concerto in F minor, Mvt II
..
Omission of the slur in the editions could have been related to doubts concerning its reach: the slur reaches the half of the bar, but not the d
category imprint: Differences between sources issues: Inaccurate slurs in A , Errors in GE |
|||||||||||
|
b. 23
|
composition: Op. 21, Concerto in F minor, Mvt II
..
The slurs of A are unclear in the 2nd group of semiquavers: when interpreted literally, the first embraces the first two notes while the second the last three. A comparison with adjacent, analogically structured figures unambiguously shows that it is the second slur that starts inaccurately (too late). In GE1 (→FE→EE) a less likely interpretation was adopted, in which each slur embraces three notes. In GE2 two slurs were replaced with one (cf. the 1st note in this bar). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , GE revisions |
1-e
