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. 28 No. 24, Prelude in D minor
The ending of the R.H. slur underwent an evolution in A – three versions are written, out of which two were crossed out. It was most probably the longer ending of a continuous slur that was written first: 
. It is an example of a tenuto-slur, used by Chopin on a number of occasions to emphasise the lingering of the last note encompassed with a slur. Chopin then added a very short ending of the slur over the a1 crotchet and a new slur under the f1-c1 fourth motif, while crossing out the further part of the initial slur: 
. Eventually, it was also the "fourth" slur that was crossed out, whereas the top one was prolonged with a distinct, thicker line, which reached only the c1 minim, which was repeated in all the remaining sources: 
. We also see crossed-out slurs in two out of three analogous phrases – in b. 30-31 and 34-35 the initial slurs, separated by a semiquaver rest, were then replaced by Chopin with continuous slurs (only in b. 16-17 a continuous slur was written right away, without corrections).
Compare the passage in the sources »
category imprint: Corrections & alterations; Source & stylistic information
issues: Corrections in A, Deletions in A
notation: Slurs
