Slurs
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b. 91-93
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composition: (Op. 4), Sonata in C minor, Mvt I
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When interpreted literally, the A slur in the 2nd half of bar 91 starts from the semiquaver; the same applies to bar 93. Due to the notation of similar motifs in bars 98-99, we favour the interpretation adopted by the editions (cf. the similarly shifted slur over the dots in bar 41). The A version can be considered an equal variant. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
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b. 97-100
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composition: (Op. 4), Sonata in C minor, Mvt I
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Unlike the L.H. quavers provided with four-note slurs, in A the respective R.H. motifs are provided with slurs starting from the 2nd quaver in each group, while in bar 99 there are no slurs at all. These must be inaccuracies, which – apart from the oversight of the slur in bar 97 – were aptly assessed already by GE (→EE,IE). In the main text we provide the version featuring standardised slurs encompassing these motifs. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Errors in FE , Inaccurate slurs in A , GE revisions , FE revisions |
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b. 101
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we add a slur after analogous bar 103. Chopin, particularly in the early period of his oeuvre, would often try to write slurs from the side of noteheads, even in a several-part texture (cf., e.g. the A slurs concerning the R.H. quavers in bars 97-98 and 100). However, there were times when he would omit slurs that were too difficult to write due to the layout, as in the discussed situation or in bar 99. category imprint: Editorial revisions |
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b. 115
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composition: (Op. 4), Sonata in C minor, Mvt I
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In A the slur starts from the 1st quaver in bar 115, yet its initial fragment partly overlaps with the word legato. What is more, one can have the impression that Chopin intentionally added a verbal indication to cover this fragment of the slur. Therefore, it is likely that Chopin wanted to adjust the beginning of the slur to phrasing, which he precisely marked in analogous bar 131, 133 and 135 (as well as in bar 117 and 119, although less carefully). We provide this interpretation in the main text, yet we suggest the literal interpretation as an alternative solution. The absence of the slur in GE (→FE,EE,IE) is due to an oversight by the engraver of GE, who overlooked slurs in the last three bars on the page (bars 115-117). category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Inaccuracies in A |
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b. 117-118
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composition: (Op. 4), Sonata in C minor, Mvt I
category imprint: Differences between sources issues: Errors in GE |
