Slurs
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b. 611
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composition: Op. 11, Concerto in E minor, Mvt I
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In GE3, the slur combining the last two quavers in the L.H. must be inauthentic, while its absence in the remaining sources may be considered justified – the interval between those notes exceeds the hand span. category imprint: Differences between sources issues: GE revisions |
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b. 611
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composition: Op. 11, Concerto in E minor, Mvt I
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The missing slur is probably an oversight of the engraver of GE. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 619
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composition: Op. 11, Concerto in E minor, Mvt I
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Taking into account the fact that similar figures of accompaniment are provided with slurs in the entire section, the absence of slurs in the last two bars must be considered an inaccuracy. A slur in bar 619 was added already in EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 620
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, it is unclear whether the last note of the bottom voice should be encompassed with the slur or not. In the main text, we lead the slur to the penultimate note in the belief that Chopin used here portato articulation, which he marked with dots under a slur. In EE, the slur encompasses the entire group of 9 notes, which can be considered a variant, since such an interpretation is equally likely. The missing slur in GE and the con forza indication in FE, placed too low, which impeded drawing the slur, suggests that the slur was added in the last phase of proofreading of FE. category imprint: Graphic ambiguousness; Differences between sources |
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b. 623-624
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composition: Op. 11, Concerto in E minor, Mvt I
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The division of the slur between these bars is questionable if we take into account further slurring of this fragment, consisting exclusively of two- and four-bar slurs. Numerous examples of proofread slurs in FE (cf. e.g. bars 291-294), generally striving for longer slurs, allow us to assume that such a proofreading was accidentally omitted in this place. In the main text, however, we leave the source slurs, since they correspond to the rhythm of harmonic changes – each of the three slurs of the first phrase encompasses a fragment based on a different chord. Situations in which analogous phrases are provided with clearly different slurring, paying attention to different aspects or levels of the phrase's structure, can be encountered in Chopin's pieces, e.g. in the Fantaisie in F Minor, Op. 49, bars 77-84 and 164-171 and 244-251. category imprint: Editorial revisions |
