Slurs
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b. 456-457
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composition: Op. 21, Concerto in F minor, Mvt III
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In A, the ending of the slur in bar 456 suggests continuation, yet in bar 457 (on a new page), there is no ending of the slur. GE1 (→FE→EE) adopted a literal interpretation of this detail. In the main text we lead the slur to the last note of the two-bar sequence of triplets. GE2 interpreted the notation of A in a similar way. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , GE revisions |
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b. 456-457
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composition: Op. 21, Concerto in F minor, Mvt III
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In A, it is difficult to say where the slur in the L.H. in bar 456 is supposed to reach. When interpreted literally, it leads to the last chord in this bar, yet in bar 457, on a new page in A, there is an ending of a slur from the previous page. In GE (→FE→EE), both slurs were combined in one, which has to be considered a possible interpretation (it also seems to be likely that the slur was added in its entirety in the proofreading of GE1). However, according to us, it is the contextual interpretation including the authentic slurs in bars 416-417 and 424-425 that is more likely, and these are the slurs we give in the main text. category imprint: Graphic ambiguousness; Differences between sources |
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b. 457-458
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composition: Op. 21, Concerto in F minor, Mvt III
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GE1 (→FE→EE) interpreted the slightly inaccurate slur of A to be starting from the beginning of the bar, which is certainly a mistake. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions |
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b. 458-461
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composition: Op. 21, Concerto in F minor, Mvt III
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Both slurs in these bars are written in A inaccurately – their endings do not reach the crotchets in bars 459 and 461, although they point to them quite clearly. A comparison with analogous bars proves that they are almost certainly to be interpreted considering not only their position in relation to the bar lines. GE1 (→FE→EE) interpreted only the second of them in this way; moreover, both start from the 1st beat in bars 458 and 459, which is a mistake. The division of the slur in bar 460 is an arbitrary change introduced in GE2 (just like in the three previous analogous places). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions |
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b. 462-463
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composition: Op. 21, Concerto in F minor, Mvt III
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The slur in the R.H. starting in bar 462 reaches only the last note in this bar in A. It is almost certainly a trace of the original notation, which is supported by an extension of the slur in an analogous situation one bar earlier. Chopin's oversight was corrected already in GE1, most probably by the composer himself. At the same time, the visible traces of corrections in print prove that it was different slurs than in A that were subject to proofreading – it is likely that initially each of bars 461-464 was encompassed with a separate, whole-bar slur (bar 462 certainly was). category imprint: Differences between sources issues: Authentic corrections of GE , Omitted correction of an analogous place , Corrected slurs of Op. 21 in GE1 |
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