



In the main text, we give slurs modelled after the previous phrase (bars 232-233), assuming an erroneous interpretation of the Chopinesque notation in this place. Out of four similar places (bars 232-239), a division of the slur between the bars appears twice, whereas a division after the 1st semiquaver triplet – only once, in the discussed bars (in bars 236-237, none of the slurs encompass the 1st triplet). Such a change was introduced already in GE3. However, one cannot rule out that Chopin approved of a differentiated slurring of those four phrases, since it indicated various aspects of this sometimes bimelodic figuration.
Compare the passage in the sources »
category imprint: Differences between sources; Editorial revisions
issues: GE revisions
notation: Slurs