mUltimate Chopin

Text Compare Notes Sources Description

Issues : Inaccurate slurs in A

b. 5

composition: Op. 28 No. 22, Prelude in G minor

2 slurs in A (probable interpretation→FC→GE)

Continuous slur in FE (→EE)
..

The ending of the slur that started in b. 4 may suggest in A that it should be combined with the slur in b. 5; it was reproduced as such in FE (→EE). In turn, the copyist in FC (→GE) assumed that the slur reaches the beginning of b. 5 but does not combine with the slur that begins there. According to us, it is the latter that is more likely; therefore, we give it in the main text.

category imprint: Differences between sources

issues: Inaccurate slurs in A

b. 5-13

composition: Op. 28 No. 20, Prelude in C minor

Slurs to C1-C in A (→FC→GE, →FE→EE)

Slurs from 1st beat to C1-C & final chord (after AB)

Slurs from 2nd beat to C1-C & final chord in ACh, literal reading

Slurs from 2nd beat to C1-C in ACh, contextual interpretation

No slurs in CGS
..

In the main text we give the unequivocal phrase marks of A and the remaining sources stemming from it. The later autographs – AB and ACh – convey variants that do not seem to be simply inaccuracies of notation. As regards the longer phrase mark of AB – placed in the original in bars 5-9 of the 9-bar version of the Prelude – we admit it to the basic, 13-bar version as a variant of the slur in bars 9-13.
The phrase marks of ACh underline the beginning of the bass passus duriusculus; they also constitute the latest authentic variant concerning phrase marks in these bars. The ending of the phrase mark in b. 9-12 reaches b. 13, which, according to us, is an inaccuracy; however, when interpreted literally, it results in a variant combining both authentic versions of phrase marks.
The missing phrase marks in CGS must be one of numerous defects of that copy.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Inaccurate slurs in A , Errors in CGS

b. 6-7

composition: Op. 27 No 2, Nocturne in D♭ major

A more probable interpretation of the slurs of A

A less probable interpretation of A (→GE→FE→EE)
..

In the sources, bar 7 begins a new line of text; in such situations it is difficult to decide in Chopin's autographs whether the slur is to be treated as a new sign or a continuation of the previous one.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 6

composition: Op. 24 No. 2, Mazurka in C major

A possible reading of the slur in A (→GE→FE→EE)

The slur of A interpreted in context
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The extent of the slur in this bar in A is not clear. As slurs reaching grace notes are used only in exceptional cases, the slur in A may be interpreted as reaching the 2nd quaver or the crotchet on the 2nd beat of the bar. The comparison of all the 12 analogous bars point to the latter possibility. In GE (→FE→EE), the former solution was adopted.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A

b. 6-7

composition: Op. 24 No. 1, Mazurka in G minor

Possible interpretation of slurs in A

Simplest interpretation of slurs in A (→GE→FE→EE)
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In A, the slur begun in bar 6 (the last in the line of text) has no continuation, which makes it impossible to figure out Chopin's exact intention for slurring of that phrase. The solution adopted in GE (→FE→EE) seems the most appropriate one (cf. analogous bars 54-55).

category imprint: Graphic ambiguousness

issues: Inaccurate slurs in A , Uncertain slur continuation