|
b. 8-11
|
composition: Op. 28 No. 21, Prelude in B♭ major
..
When interpreted literally, 3 consecutive slurs of A reach only the last quaver in the bar; moreover, the starting point of the slur in b. 9 is also not entirely clear (we assume that it is the 2nd quaver). Due to the reasons discussed in b. 1-2, we consider them to be inaccurate; in the main text we generally adopt the slurs of FE (→EE), compliant with the manner in which Chopin would correct in A some slurs in similar figures. In b. 9-10 the notation of the topmost L.H. notes on the top stave and writing them closer to the b category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , FE revisions , Inaccuracies in FC |
|||||||||
|
b. 9-10
|
composition: Op. 28 No. 21, Prelude in B♭ major
category imprint: Differences between sources issues: EE revisions |
|||||||||
|
b. 10-11
|
composition: Op. 28 No. 21, Prelude in B♭ major
..
A late start of the slur is one of numerous slurring inaccuracies of Fontana in this Prelude – cf. the note to b. 2-4. category imprint: Differences between sources issues: Inaccuracies in FC |
|||||||||
|
b. 12-13
|
composition: Op. 28 No. 21, Prelude in B♭ major
..
In A, the slur starting in bar 12, last in line, indicates a continuation, but its ending is absent from bar 13. We adopt a natural contextual interpretation in accord with the FE (→EE) version. In FC (→GE), the copyist overlooked this slur like the previous one. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , Errors of FC , Uncertain slur continuation |
|||||||||
|
b. 12-14
|
composition: Op. 28 No. 21, Prelude in B♭ major
category imprint: Differences between sources issues: EE revisions |
1 minim opens an additional interpretation of the L.H. slur as reaching that minim. We include that possibility in the main text, regarding the version of 
