mUltimate Chopin

Text Compare Notes Sources Description

Issues : Inaccurate slurs in A

b. 8-9

composition: Op. 21, Concerto in F minor, Mvt I

Slur up to bar 9 in A

Slur only in bar 8 in GE (→FE→EE)
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While the slur of A ends in bar 9, it is not obvious whether it is actually supposed to reach the F quaver. Therefore, the interpretation of GE (→FE→EE) is equally justified.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 8-9

composition: Op. 50 No. 3, Mazurka in C♯ minor

New slur from 2nd quaver in AI & GE

New slur from 1st quaver in AF, literal reading

Overlapping slurs in FE (→EE)
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In AF both the ending of the slur in b. 8 and the beginning of the slur in b. 9 are written inaccurately, as a result of which each of the given versions may be considered an interpretation of this notation. According to us, the latter is to be interpreted as beginning from the 1st quaver of the bar, which is indicated by the similar yet more accurate versions of notation of AI and AF in analogous b. 100-101 (in AF the version prior to combining the slurs). To the main text we adopt the version of FE, perhaps proofread by Chopin (the first slur having been extended). The version of AI and GE may be considered an equal variant.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccurate slurs in A , Chopin's hesitations , Authentic corrections of FE

b. 8

composition: Op. 28 No. 10, Prelude in C♯ minor

Slur to 2nd beat in A (contextual interpretation→FC)

Slur to 3rd beat in FE (→EE) & GE
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In A it is unclear whether the slur encompasses d1 on the 2nd beat of the bar or whether it aims for g1 on the 3rd beat. According to us, it is the former that is more likely – the slur symmetrically encompasses the notes played on the 2nd beat of both bars, which is an argument for a symmetrical interpretation of both its ends; since the beginning of the slur undoubtedly falls on the 2nd beat of the bar, its ending is also to be interpreted so. This is how it was interpreted and clearly written down by Fontana in FC, which was, however, ignored in GE.  

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 8-11

composition: Op. 28 No. 21, Prelude in B♭ major

Slurs from 2nd to 6th quaver in A, literal reading

Slurs from 1st to 6th quaver in FC (→GE)

Slurs from 2nd quaver to next bar in FE (→EE)

Slurs from 2nd quaver to next bar suggested by editors
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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 b1 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 FE (→EE) as an equal variant.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , FE revisions , Inaccuracies in FC

b. 9

composition: Op. 29, Impromptu in A♭ major

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According to us, the beginning of the slur, inaccurately placed in A, includes the 1st note of the motif. In the editions the slur begins a quaver earlier. In EE the slur runs until the end of bar 10 and in GE2 (→GE3→GE4) until the end of bar 12.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , Embracing slurs