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Slur from 3rd quaver in A, contextual interpretation |
The beginnings of the slurs in bar 43, 45, 47-50, 54, 56 and 58-59 fall in the sources on different places in the bar, whereby the differences occur both between the bars within each source and between the sources in particular bars. In the latter, the differences are mainly due to inaccuracies resulting from the notation of both A (not always precise) and the editions (and probably also [FC]). In some places one can assume standardising revision, based on the belief of the engraver that the basis was inaccurate (e.g. the slur shortened in EE in bar 50). The only place of this category in which one could assume Chopin's intervention is bar 43, in which the slur in FE (→EE) starts from the beginning of the bar, as it was written by Chopin in analogous bar 54. Both versions can be considered equal, yet in the main text we reproduce the notation of the principal source, that is A.
As far as the differences within particular sources are concerned, in the light of what was said about the lack of grounds to consider the versions of the editions to be authentic, we analyse only the A notation. Except bar 47, in which the slur does not encompass the 1st beat of the bar at all, the slurs always begin within the 1st beat, whereby it is impossible to determine the exact note marking the beginning of the slur in all cases. The strictly analogous structure of the whole-bar figures makes us look for a way to standardise the slurs, except possibly bar 43 and 54, in which we consider the lack of tied R.H. chords at the beginning of the bar to be a factor that could influence the slurs. According to us, the best candidate is the 3rd quaver in the bar:
- The motif appearing in these bars is then used in bar 180 and analog., as well as in the virtuoso passages in bar 143 and analog. The shortened version of the motif used there begins with a fourth and reaches a seventh in its ascending part, starting from the 1st note of the motif. In the discussed bars it is the motifs beginning from the 3rd note of the bar that are provided with such structure. The 3rd note is also indicated by the notation of bar 43 and 54, in which the 3rd quaver is provided with an additional quaver stem, which most probably marks the entry of the right hand to separate the beginning of an important melodic motif from the quaver wave running from the bass.
- Some graphic features of the slurs also point rather to the 3rd quaver. The beginnings of the slurs are generally quite high above the notes and are devoid of clear endings, reaching a specific note. This would suggest that Chopin took into account the closest element of notation, that is the top quaver beam. In the majority of the situations, this eliminates the 2nd note as a possible beginning of the slur.
In the main text we provide a standardising interpretation of the A notation based on the above observations. We consider the slurs starting rather above the 2nd quaver (bar 43, 45, 50, 56 and 59) as well as above the 4th one (bar 47) to be intentionally running from the 3rd note. We leave the slur in bar 54, running from the beginning of the bar, but in bar 58 we replace a similar slur with a slur running from the 3rd note, compliant with the slurs in the adjacent, analogous bars.
Compare the passage in the sources »
category imprint: Differences between sources
issues: Inaccurate slurs in A, Authentic corrections of FE
notation: Slurs