Issues : Tenuto slurs
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b. 44
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we give a slur/tenuto (typical of Chopin) after FE. The shorter slur of GE may be authentic; however, it cannot be ruled out that it was adjusted to the notes on the top stave by the engraver (i.e. shortened). The same applies to b. 277. category imprint: Differences between sources issues: Tenuto slurs |
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b. 50-51
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composition: Op. 25 No 4, Etude in A minor
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In the face of the notation of A, the fact of combining the slurs in FE and EE may be considered to be justified, however, it is most likely that Chopin's intention – the tenuto ending of the slur in bar 50 – was interpreted correctly in FC. category imprint: Differences between sources issues: GE revisions , Tenuto slurs |
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b. 56-57
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composition: Op. 28 No. 24, Prelude in D minor
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The slurring of FC (→GE) is one of a few distinct inaccuracies of the copyist, and yet difficult to explain – cf. b. 27-28, 38-39 or 58. In A the slur starting in b. 57 is a tenuto-slur, according to us, and this is how we reproduce it in the main text. At the same time, we include the ambiguous curved line of A at the beginning of b. 58; the shape thereof resembles a tie, but it is placed at the height of a slur. In FE the curved line was not prolonged beyond the a1 crotchet, whereas in EE, due to a routine shift of the mark to the side of noteheads, it became a tie. category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Errors of FC , Tenuto slurs |
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b. 59
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composition: Op. 11, Concerto in E minor, Mvt II
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The meaning of the curved line between the c The passage filling 5 quavers was added in FES on the margin, next to the line containing bars 59-62, without indicating the place it should be inserted in the printed text. According to us, there are two such places – the 1st half of bar 59 (as an A major passage) or 5 last quavers in bar 61 (as an A minor passage). The latter seems to be more likely due to a similar nature of the passage written in this bar in FEH, hence we adopt the variant placed in bar 61 as the text of FES. The literal interpretation of the variant of FEH excludes a simultaneous application of the interpretation of the passage of FES discussed above. Another interpretation of the entry in FEH – see the note in the further part of this bar. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants , Tenuto slurs , Annotations in FEH |
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b. 71-72
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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GE1 ends a page on bar 71, and the slur reaches the end of that bar. This may suggest a possible continuation of the slur in the next bar or a tenuto ending of the slur. In bar 72 a new slur starts from the beginning of the bar in support of the latter, and that is how we reproduce it in our system. In any case this amounts to the engraver's inaccuracy, amended in GE2. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , GE revisions , Uncertain slur continuation , Tenuto slurs |
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