mUltimate Chopin

(Op. 4), Sonata in C minor, Mvt III

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Slurs

b. 2

composition: (Op. 4), Sonata in C minor, Mvt III

No slurs in sources

Slurs suggested by the editors
..

According to us, the absence of slurs is rather Chopin's inadvertence than an interpretative nuance. Therefore, in the main text we add slurs modelled after bar 1.

category imprint: Editorial revisions

b. 6-8

composition: (Op. 4), Sonata in C minor, Mvt III

Slurs to g1 in A, literal reading

Slurs to e1 in A (contextual interpretation→GE→FE,EE,IE)
..

The range of the A slurs in bar 6 and 8 is unclear – the former, ending between g1 and e1, could be interpreted as a slur encompassing the entire L.H. passage, yet the latter clearly ends on g1. As there is no reason for the range of the slurs to differ, we consider slurs ending on g1 as the A text, since they are closer to the literal interpretation. On the other hand, in the main text we provide the interpretation adopted by the editions, certainly more justified, both musically and pianistically speaking.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Inaccurate slurs in A , GE revisions

b. 9-10

composition: (Op. 4), Sonata in C minor, Mvt III

Slur in upper part in A, probable interpretation

Tie to a1 in GE (→FE,EE,IE)
..

The meaning of the slur/tie led in A under the top voice notes is unclear. In GE (→FE,EE,IE) it was reproduced as a tie to the last a1 crotchet in bar 9; however, according to us, it is more likely that Chopin meant a slur, writing it with the chromatic step in the top voice in mind. It is indicated by the slur's position – a tie concerning a1 could have been written at the pitch of this note or slightly below. Therefore, in the main text we provide a slur concerning the top voice, placing it over the notes for the sake of clarity.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 9-10

composition: (Op. 4), Sonata in C minor, Mvt III

Slur from c to f1 in A, literal reading

Slur from A to e1 in GE (→FE,IE)

Slur from a to e1 in EE

Slur from A to d1 suggested by the editors
..

The fact that the A slur starts from the 3rd quaver in the bar most probably results from the difference in the direction of stems and beams – as Chopin wanted to write a slur on the side of noteheads, he omitted A, which is pointing upwards.
The musically unjustified rupture of the slur before the end of the passage is most probably also due to a graphic reason – a slight gap between the parts of both hands at the end of the bar. This is how it was assessed in the editions, in which, however, the slur was led only to the end of the bar, which can be considered an acceptable variant (except the arbitrary EE version, perhaps accidental). 

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Source & stylistic information

issues: Inaccurate slurs in A , GE revisions , EE inaccuracies

b. 10

composition: (Op. 4), Sonata in C minor, Mvt III

Whole-bar slur in A (literal reading→GE→FE,EE,IE)

Slur from 2nd crot­chet in A, contex­tual interpretation suggested by the editors
..

According to us, the beginning of the slur in A is inaccurate, as a result of which the GE version (→FE,EE,IE) probably does not correspond to Chopin's intention. The composer would eagerly use a combination of staccato dots and a slur, and in this manuscript he wrote them down a few times with a similarly inaccurate slur – cf. bars 38-40, as well as bar 41 in mov. I of the Sonata. Another argument for starting the slur from the 2nd crotchet in the bar is the fact that the bottom voice a1 note is played on it.

category imprint: Graphic ambiguousness

issues: Inaccurate slurs in A