mUltimate Chopin

Text Compare Notes Sources Description

Issues : Inaccurate slurs in A

b. 4-5

composition: Op. 28 No. 12, Prelude in G♯ minor

Separate slurs in A

Continuous slur in #KC (→GE) & FE (→EE)
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In A there is a phrase mark over b. 1-4 and also another one, which, when interpreted literally, starts from the 2nd quaver in b. 5. Therefore, nothing indicates Chopin's intention to combine them, hence the interpretations of both FC and FE must be considered erroneous (besides, the copyist considered the division of the phrase mark in b. 7-8 and 8-9 to be accidental too). Moreover, we assume that the beginning of the phrase mark in b. 5 is inaccurate in A; according to our interpretation, it starts from the 1st quaver. It is justified by the fact that in a few other situations Chopin equated a phrase mark beginning between the 1st and 2nd quavers to a phrase mark running clearly from the 1st quaver, e.g. b. 1 and 9 or 29 and 31. See also the note to b. 54-55.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , Inaccurate slurs in A , Errors of FC

b. 4-5

composition: Op. 28 No. 17, Prelude in A♭ major

First slur to a1 in A, literal reading

First slur to end of bar 4 in FC (→GE)

Continuous slur to bar 10 in FE (→EE)
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The range of the slur in b. 4 is unclear in A – it can be interpreted as a slur dragged to the a1 crotchet or as an unfinished slur/tenuto encompassing that crotchet along with the bottom voice quavers that fill it (as was reproduced by Fontana in FC). As it is slurs/tenutos that prevail in similar situations in the entire Prelude – particularly consistently from b. 65 on – in the main text we give such a slur. The continuous slur of FE (→EE), certainly contrary to the notation of A, probably resulted from the engraver's carelessness.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , Inaccurate slurs in A , Tenuto slurs

b. 5

composition: Op. 29, Impromptu in A♭ major

 
 
 
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In A the end of tie reaches the next bar. We consider it to be an inaccuracy of notation due to the obvious phrase structure and consistent slurring in almost each out of 11 analogous bars.

category imprint: Graphic ambiguousness

issues: Dedications , Inaccurate slurs in A

b. 5-6

composition: Op. 24 No. 4, Mazurka in B♭ minor

The slur end in  A (→GE→FE→EE)

The editors' proposition
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The slur in A finally trails off shortly after the minim d flat2, yet we clearly see that Chopin ran out of ink, which suggests that the slur was meant to reach slightly further. This guess finds confirmation in longer slurs in the analogous bars 8 and 10. We resolve the question of whether those slurs reach the semiquaver or extend to the crotchet on the 2nd beat of the bar in favour of the latter option, as those slurs are actually more phrase marks than articulation slurs. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 5-6

composition: WN 37, Lento con gran espressione

Slur in A1, literal reading

Slur in CJ, literal reading

Slur in CK (→CB)

No slur in EL
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In the main text we give the slur of CK (→CB), which is unquestionable in terms of image and music. According to us, it can also be considered an interpretation of the possibly inaccurate slurs of A1 and CJ. The slurring of A1 is generally rather of draft nature – careless and mostly short slurs appear only occasionally.
The absence of the slur in EL does not seem to be an oversight, since this edition is generally devoid of slurs and phrase marks – slurs that are not related to irregular groups are present only in b. 44 (arbitrary) and 47 (authentic). As a result, it could be regarded as a general editorial oversight.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , Inaccuracies in JC , Revisions in EL