Issues : Triplet slurs
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b. 50-51
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composition: Op. 25 No 11, Etude in A minor
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The shorter ("triplet") slur in FE is the original version, changed by Chopin in GC (→GE) and – probably – in the base text to EE. Similar corrections of slurring were introduced by Chopin in GC also in bars 51 and 52. Not having an insight into the base text of EE, we cannot state whether leading the slur until the beginning of bar 51 in this edition corresponds to Chopin's notation. category imprint: Differences between sources issues: Triplet slurs , Authentic corrections in GC |
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b. 51
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composition: Op. 10 No 11, Etude in E♭ major
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The slur visible in A under the semiquaver triplet is one of a few elements overlooked by the engraver of FE in this place (cf. the remarks concerning the accent and tie sustaining g2). The sign was added in GE and EE. Without a doubt, the slur plays here a double role – formal, as a part of the triplet's mark, and phrasing and articulation one. category imprint: Differences between sources issues: Inaccuracies in FE , Triplet slurs |
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b. 51
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composition: Op. 21, Concerto in F minor, Mvt II
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The slurs on the 3rd beat of the bar perform a double function in A: concerning rhythm, as a part of indication of an irregular group, and articulation. In the editions only the group of semiquavers (without rest) were embraced with them. In the main text, we preserve the notation of A, yet both versions can be considered equal – at first, Chopin would mark irregular groups generally with a digit and a slur, however, then he would often revise slurs, transforming them into a slur-phrase marks. If in bar 45 the version with the harmonic accompaniment was chosen, one of the versions for the R.H. is to be selected here. category imprint: Differences between sources issues: Inaccuracies in GE , Triplet slurs |
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b. 52-53
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composition: Op. 27 No 2, Nocturne in D♭ major
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In A (→GE) the articulation-phrasing slur embraces only bar 52. When correcting FE (→EE), Chopin extended it to reach the half of bar 53 and we give that longer slur in the main text. There is also a slur above the demisemiquaver triplet in the sources. The addition of a long phrasing slur in the proofing of FE reduced the 'triplet' slur to a purely formal function (cf. General editorial principles p. 16), so we remove it from the main text. category imprint: Differences between sources; Editorial revisions; Corrections & alterations issues: Authentic corrections of FE , Triplet slurs |
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b. 52-62
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composition: Op. 10 No 12, Etude in C minor
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In bar 52 and analogous bars 55, 56, 60 and 62 Chopin provided the part of the R.H. only with the slurs embracing particular triplets, independently from articulation and phrasing. Due to the fact that while proofreading FE, Chopin replaced these slurs with phrase marks in a few places (bars 52, 56 and 60), we assume that the described corrections intentionally refer to all similar fragments and that lack of relevant changes in the remaining bars is a result of an inaccurately implemented proofreading. However, it is possible that it was Chopin that wanted to limit himself to the essential minimum of the changes in the text reproduced by the engraver in accordance with the Stichvorlage. Cf. General Editorial Principles, p. 16. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Triplet slurs |
