Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
(Op. 4), Sonata in C minor
Op. 11, Concerto in E minor, Mvt III
In the main text, we begin the slurs from the 1st semiquaver of the bar, since the first two semiquavers are encompassed with one slur in the three remaining analogous places in the second appearance of this theme (bars 416, 432 and 446). The notation in bars 415-416 is particularly significant, since it emphasises the unity of the tied quaver with the following semiquavers, which is especially meaningful when the entire phrase starts from two staccato quavers.
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category imprint: Editorial revisions
notation: Slurs
