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The beginning moment of the slur in A is unclear. We assume that such an interpretation in which the beginning of the slur includes the first note of the marked motif is more probable. Chopin was using that notation most frequently and Improptus' notation is not an exception: a number of slurs is written in it with great panache. In GE1 the slur was interpreted in a completely different way; similar slurs in FE and EE may also comply with the notation we observe in A. In EE the slur runs until the end of bar 10 and in GE2 (→GE3→GE4) until the end of bar 12.
In bars 9-13 and 91-95 there are 12 situations in which the triplet movement of the melody stops on a crotchet held with a tie to the 1st note of the next triplet. In the majority of those places the phrasing slur ends on the crotchet, while the new one begins over the following triplet; however, the sources do not indicate clearly whether the beginning of the new slur refers to the first (held) note of the triplet or to the second one, which is being struck. It seems that the problem has to be considered globally (except the beginning of bar 93), as the notation does not indicate that Chopin would like to differentiate particular places according to this issue.
The solution adopted by us – slurs running from the 2nd note of triplets – is justified by:
– A's notation analysis, in which all the considered slurs can be interpreted as the ones including the 2nd note of triplets and only some of them reaching the 1st note;
– the engravers' predilection for beginning the slurs from the 1st note of the triplets (according to the rhythmic divisions visible in the ties' arrangement); it can be perfectly seen on the example of GE where all A's slurs were interpreted as running from the 1st note of the triplet; the fact is undermined by the significance of FE and EE as a testimony of notation of their manuscript base texts.
The alternative interpretation, with slurs beginning from the 1st note of the triplet, is justified by heterogeneous slurring in both analogous fragments: in some of the considered places the slurs are not interrupted at all, it differs according to sources. It can imply that the recorded slurs' divisions did not translate into very significant and clear divisions in phrasing in Chopin's intention, which is more clearly suggested by such kind of notation.
Therefore, the issue is of a quite significant importance for the performing aspect, as each of alternative notations matches a slightly different approach to phrasing of that fragments: the first one suggests a clearer shaping of particular motifs; the second one emphasises the smoother, global flow of music.
category imprint: Graphic ambiguousness; Differences between sources
issues: Inaccurate slurs in A, Embracing slurs
notation: Slurs
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