Slurs
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b. 123
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composition: Op. 12, Variations in B♭ major
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Taking into account the slurs in analogous bar 121 and the relatively numerous inaccuracies and omissions concerning slurs in the Variations, in the main text we suggest adding a slur over the demisemiquaver group. We provide the slur in brackets, as the different melodic motif used in this group and the presence of ritenuto mitigate the parallel nature of the endings in bar 121 and 123. category imprint: Editorial revisions |
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b. 125-127
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composition: Op. 12, Variations in B♭ major
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The absence of markings – dots under the slur – in bar 125 must be considered an oversight, since the chordal motifs in bar 125 and 127 must be performed using the same kind of articulation. Therefore, in the main text we suggest adding respective markings. The easiest explanation for their absence in GE in bar 127 is the engraver's carelessness. category imprint: Differences between sources; Editorial revisions issues: Errors in GE |
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b. 125-127
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composition: Op. 12, Variations in B♭ major
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Taking into account the similarities between bar 125 and 127, it seems highly likely that Chopin wanted the L.H. slurs to be of the same range. However, the slur in bar 125 clearly starts from the quaver at the beginning of the 2nd half of the bar, while the respective slur in bar 127, clearly inaccurate, begins somewhere between the last two thirds in the top voice. This inaccuracy must have resulted from the layout, in which the 4th quaver in the bar and the L.H. top voice are written on the top stave, under the R.H. part, which makes it impossible to begin a slur earlier. Therefore, we assume that, following the principle of minimal intervention in the source notation, it indicates a slur running from the accented f1-a category imprint: Graphic ambiguousness; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 129
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composition: Op. 12, Variations in B♭ major
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The absence of a slur in FE1 (→EE) is almost certainly an oversight, which is proven by both a comparison with the subsequent similar figures and the slur added in FEO. Therefore, we provide it directly in the main text. A slur was also added in GE. category imprint: Differences between sources issues: Annotations in teaching copies , GE revisions , Annotations in FEO |
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b. 129
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composition: Op. 12, Variations in B♭ major
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The curved line entered in pencil into FEO could be interpreted as a slur indicating that the F chord opening this bar should be combined with the preceding D category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information |
1 third. In this quasi-literal interpretation of the sources, the slurs in both phrases are not identical. Therefore, in the main text in bar 127 we provide a slur running from the quaver at the beginning of the 2nd half of the bar, in accordance with the slur in bar 125. As an alternative solution we suggest slurs from the 5th quaver of the bar in both places, which can be regarded as a contextual interpretation of the discussed places.
