mUltimate Chopin

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

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Slurs

b. 214

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

Slur from a to d in A, contextual interpretation

Slur from b to b in A (probable interpretation→GE→FE,EE,IE)
..

It is unclear how to interpret the A slur. The comparison with the authentic slurs in bars 28-30, containing very similar figures, suggests that the slur could be starting from the 3rd quaver. Musically speaking, it would be justified to lead the slur to d, which draws our attention to this note, leading to e at the beginning of the next bar. On the other hand, due to the different structure of the L.H. figuration – a smooth scale sequence running from the beginning of the bar – there is no harmonic stop on a G chord present in the aforementioned bars, hence separating the first 2 quavers no longer makes sense. Moreover, taking into account the fact that the slur is more or less symmetrically placed over the group of 8 quavers, and the A slurs are often inaccurate, one can consider the whole-bar GE slur (→FE,EE,IE) a fully-fledged interpretation of the A notation. In the main text we opt for this interpretation, considering the first one an equal variant.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 220-221

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

2 staccato dots & slur in A, literal reading

2 wedges & slur in GE (→FE,EE,IE)

Dot & slur in A, possible interpretation

Slur in A, different interpretation

2 dots in A, contextual interpretation
..

According to us, when interpreted literally, the A notation is an example of an uncontrolled change to the concept of articulation markings (another example – see I mov., bar 102). Chopin probably wanted to replace one or both staccato dots with a slur or the other way round. We consider the latter to be more likely – initially, the composer wanted to diversify the bass articulation by writing slurs in bars 219-220 and 220-221; then he decided to use a slur only the second time, to emphasise the modulating B-c step, while in bar 219 he added dots. Therefore, in the main text we keep only the staccato dots, being probably the later concept.
The use of wedges in GE (→FE,EE,IE) was an arbitrary decision by the engraver of GE, as in bars 216-217.

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

issues: Inaccuracies in GE , Wedges , Partial corrections

b. 229-230

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

Slur to b3 in A, literal reading

Slur to a3 in GE (→IE)

No slur in FE

Slur to b. 230 in EE
..

When interpreted literally, the A slur is – as many others in the Sonata – probably inaccurate, hence in the main text we provide its interpretation adopted by GE (→IE). The versions of the remaining editions resulted from the engravers' mistakes.
See also bar 231.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , Errors in EE , Inaccurate slurs in A , GE revisions

b. 230-231

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

Slurs in A (→GE→FE,IE)

No slurs in EE
..

The missing slurs between the bars are a patent mistake by the engraver of EE.

category imprint: Differences between sources

issues: Errors in EE

b. 231

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

Slur to b3 in A, literal reading

Slur to a3 in GE (→FE,EE,IE)
..

As in bar 229, the A slur is probably inaccurate. In the main text we include its interpretation adopted by GE (→FE,EE,IE).

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions