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b. 72
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composition: Op. 16, Rondo in E♭ major
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The second slur of EE is an example of a quite frequent revision of that edition, which willingly added slurs, sometimes by analogy with authentic ones, sometimes totally arbitrarily. Similar additions – cf. e.g. the ending of the Nocturne in D category imprint: Differences between sources issues: Errors in EE |
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b. 72
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composition: Op. 16, Rondo in E♭ major category imprint: Differences between sources issues: EE revisions |
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b. 73
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composition: Op. 16, Rondo in E♭ major
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Like in the 1st half of the bar, in GE the slur was associated with the top voice only. The interpretation, however, is probably wrong – in FE, three subsequent slurs in bars 72-73 begin from the 2nd note of the respective beat, which can hardly be considered an accident. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 73
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composition: Op. 16, Rondo in E♭ major
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In GE, the slur encompasses the semiquavers of the top voice only. The beginning of the next slur in this bar was distorted in a similar way – see the next note. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 77-78
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composition: Op. 16, Rondo in E♭ major
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The differences in the range of the category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
Major, Op. 27 No. 2 or the Concerto in F Minor, Op. 21, 3rd mov., bars 
hairpin is probably a result of the engravers' inaccuracy. In the main text, we give a hairpin modelled after the mark in analogous bars 53-54.