Issues : Inaccuracies in GE
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b. 156-157
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composition: Op. 21, Concerto in F minor, Mvt III
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Out of the three forms in which the slur beginning in bar 156 appears in the sources, only the version of A and GE2 is authentic. The whole-bar slur of GE1 (→FE) is a result of the manner of adjusting slurs to metric structures, in this case bars (the slurs in adjacent bars were distorted in a similar way). In EE the moment of the slur's beginning was moved most probably on the basis of comparison with analogous bars. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , GE revisions |
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b. 157-158
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composition: Op. 21, Concerto in F minor, Mvt III
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Bar 157 is a third in a row in which GE1 (→FE→EE) has a whole-bar slur contrary to A, although in this case the inaccuracy is justified by careless notation. The division of the slur in A at the transition between bars 157 and 158 has a minimal impact on the vision of phrasing in this case. Both inaccuracies were corrected in GE2. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 167-168
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composition: Op. 21, Concerto in F minor, Mvt III
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Beginning a slur from the second note of the bassoon motif is certainly an inaccuracy of GE1, repeated in all subsequent editions. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 169-170
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we reproduce precisely the notation of A, since it seems to be unlikely that Chopin would like to combine these slurs in one – see bars 171-172. The version of GE (→FE) can be considered to be an acceptable interpretation of the notation of A. The version of EE, unified with the notation of analogous bars 172 and 174, adopted from FE, must be – in the light of the notation of A – considered erroneous. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in GE |
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b. 169-170
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composition: Op. 21, Concerto in F minor, Mvt III
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The absence of the slur over (under) the triplet in bar 170 is certainly Chopin's oversight, who overlooked the entire marking of the triplet – digit and slur. In the main text we add both. In GE1 (→FE) the two-note slur of A was replaced with a longer one, embracing the entire motif. It seems to be likely that it is Chopin's proofreading, although one can have doubts whether a possible entry of the composer in the proof copy was reproduced correctly: Chopin could have been thinking of a shorter slur, like in GE2. The version of EE is certainly arbitrary. We give a more detailed analysis of the slurs of both hands in these and analogous bars in bars 171-172. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , GE revisions , Errors of A , Authentic corrections of GE |
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