The slurs of the sources, slightly differing in their carelessly indicated range, are in effect probably inaccurate. This conclusion is confirmed by the slur of CK, encompassing the 4th beat of the bar, in b. 48. Nevertheless, encompassing with a slur the final fragment of a figuration only seems to be illogical, regardless of its actual range. According to us, it is likely that the articulation of this sequence is defined by two indications present in this bar both in A1 and [A2] (→CJ,CK) – con forza at the beginning and the slur at the end. Performing the initial fragment non legato does not directly result from the indication con forza, yet it is certainly compliant therewith – cf. the Concerto in F Minor, Op. 21, II mov., b. 52 and 65. Therefore, it would be an example of a figure with changing articulation, of which there are many in Chopin's pieces:
- transition from legato to staccato is more common, e.g. the Concerto in F Minor, II mov., b. 41, 47, 80 or the Concerto in E Minor, Op. 11, II mov., b. 17;
- Chopin suggested a reversed change in the Fantasia on Polish Airs, Op. 13, b. 168 or in the Concerto in F Minor, II mov., b. 63.
Compare the passage in the sources »
category imprint: Differences between sources; Editorial revisions
issues: Inaccurate slurs in A, Inaccuracies in JC, Inaccuracies in CK
notation: Slurs
