Issues : Inaccurate slurs in A
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b. 1
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composition: Op. 25 No 1, Etude in A♭ major
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In both autographs the moment of starting the slur is not entirely clear. In the case of AI we can rely only on a photography, hence, there is no certainty whether all details of the original are clearly visible on it (it is possible that, e.g., the initial fragment of the slur was written with such a delicate line that it is invisible on the photography). According to us, in both cases there is no doubt that, as far as the shape of the slur is concerned, Chopin wanted to begin the slur in the most natural way possible in this context, i.e. from the beginning of the phrase, hence from the beginning of bar 1 in AI and from the upbeat in A (this is how it was interpreted in GE). Such an interpretation of A is confirmed by the slurs of FE and EE, based on other manuscripts. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , Pointing slurs |
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b. 2-3
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composition: Op. 27 No 2, Nocturne in D♭ major
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The slur in A ends in a manner that allows for two interpretations. In GE (→FE→EE), that slur was considered to end on the last note of bar 2. In our opinion, it should extend to a flat1 at the beginning of bar 3. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 2-3
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composition: Op. 10 No 6, Etude in E♭ minor
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The inaccurate and unclear slurs of A were ignored in FE (→GE,EE). Their range, particularly in the case of bar 3, is uncertain. We do not include them in the main text, as Chopin did not repeat them in A and in analogous bars 10-11 and 42-43, nor did he add them in a proofreading of FE (cf. bars 47-49). category imprint: Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A |
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b. 2-4
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composition: Op. 10 No 9, Etude in F minor
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Neither in A nor in FE are the slurs in these bars precise. The slur of A gradually fades due to the ending ink, hence it is uncertain where it was supposed to end, according to Chopin. In FE (→GE1) the doubt concerns the transition to the new line between bars 2 and 3 – the slur in bar 2 suggests continuation (in accordance with A), which is, however, not confirmed by the new slur in bar 3. Although the slur in AI is legible, in this manuscript, the slurs generally seem to be written very randomly, without the intention of creating a coherent, complete image of phrasing or articulation (convergence with the 2nd slur of FE is most probably coincidental). According to us, there is no reason to think that the slurring here could differ from analogous indications in bars 10-12, embraced with one slur both in A and in the editions. Cf. bar 47. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Inaccurate slurs in A , GE revisions , Authentic corrections of FE |
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b. 2-6
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composition: Op. 10 No 8, Etude in F major
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The range and possible divisions of slurs in A are unclear. We suggest two possible interpretations. Perhaps it was the uncertainty concerning this issue that was the reason for the omission of the slurs in bars 3-5 in FE (→GE,EE). In this kind of rhythmically homogeneous, virtuoso figuration, possible breaks in slurs on the main beats of the bar do not influence the performance. category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Errors in FE , Inaccurate slurs in A |
