Slurs
b. 73
|
composition: Op. 16, Rondo in E♭ major
..
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 |
|||||
b. 88
|
composition: Op. 16, Rondo in E♭ major
..
As in bar 5, in view of the absence of [A], it is difficult to expressly state whether it is a tie or a slur, combining both a notes, that complies with Chopin's intention. A comparison with similar motifs in bars 84, 236 and 240, in which the common note of the dyads is repeated, indicates that it could be a slur. category imprint: Graphic ambiguousness; Interpretations within context issues: Inaccuracies in FE |
|||||
b. 92-93
|
composition: Op. 16, Rondo in E♭ major
..
There is no motivic slur for the bass sequence in GE, since the mark was interpreted as a tie of c1. See the next note. category imprint: Differences between sources issues: Errors in GE , GE revisions |
|||||
b. 108
|
composition: Op. 16, Rondo in E♭ major
..
All sources are missing the ending of the slur in the R.H. on a new line, in spite of the fact that a correspondingly prolonged slur in the previous bar suggests its continuation. We lead it to the first note in bar 108, to the end of the phrase, like it is in the adjacent bars. category imprint: Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
|||||
b. 112
|
composition: Op. 16, Rondo in E♭ major
..
One can ponder whether the slur was misinterpreted in the sources. The eight-bar section starting in this bar appears five more times throughout the entire Rondo, whereas the slur starts from the beginning of the bar only once (bar 136). Due to this reason, we suggest an alternative solution, referring to bars 120 and 272. category imprint: Editorial revisions |