mUltimate Chopin

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

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Slurs

b. 233

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

Slur from a in A, literal reading

Slur from f in GE (→FE,EE,IE)
..

The interpretation of the slur adopted to the main text is based on the assumption that the slur is more or less symmetrical with respect to the notes it encompasses. Therefore, we interpret both ends as encompassing the outermost notes. However, as many slurs in the Sonata do not meet this assumption, the version of GE (→FE,EE,IE) can be considered an equal variant.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A

b. 236

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

Slurs from 2nd & 6th quaver in A, literal reading

2 slurs from 1st & 5th quaver in GE (→EE,IE)

Slur from 5th quaver in FE
..

Both slurs in A are most probably inaccurate – cf. I mov., bars 17-20. In the main text we include their interpretation adopted by GE (→FE,EE,IE). The lack of the first slur is probably an oversight by the engraver of FE.

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

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

b. 238-240

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

Slur divided after b. 238 in A, literal reading

Continuous slur in A, contextual interpretation

Separate slurs in GE (→FE,EE,IE)
..

The interpretation of the slurs in A in these bars is ambiguous due to the possible inaccuracies of notation:

  • The slur beginning in bar 238 breaks off at the beginning of bar 239, giving way to the next slur, running from the 2nd quaver of this bar to the end of the line. The shape and position of both slurs suggest that both were written with one stroke, and the gap between them resulted from ink stoppage. Due to the above, in the main text we suggest a continuous slur here.
  • The situation between bars 239-240 is also ambiguous, as bar 240 opens a new line. As it is often the case in Chopin's manuscripts, the slur at the end of bar 239 indicates that it should be continued, which is, however, not confirmed by the slur starting from the 1st quaver in bar 240. The homogeneous sequence of thirds gives no reason for breaking the slur, hence we consider the slur in bar 239 to be reliable.

In GE (→FE,EE,IE) the slurs were divided in both places, which can be considered acceptable only between bars 238-239.

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

issues: Inaccuracies in GE , Inaccurate slurs in A , Uncertain slur continuation

b. 239-240

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

Slur to c1 in A, contextual interpretation

Slur to a in GE (→FE,IE) & EE2

No slur in EE1
..

The range of the A slur is uncertain – in bar 239, at the end of a line, the slur suggests that it should be continued, yet in bar 240 there is no ending thereof. As was the case with the R.H. slur, we interpret the ending of the slur as reaching the end of the passage (the c1 crotchet), and this is the slur we provide in the main text.
The absence of the slur in EE1 is due to the engraver's mistake, corrected in EE2.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Errors in EE , Uncertain slur continuation , Inaccuracies in A

b. 240-241

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

Slur to f2 in A

Slur to g2 in GE (→FE,EE,IE)
..

Chopin extended the A slur for it to reach the f2 crotchet. Therefore, the version of the editions resulted from a totally unjustified arbitrary decision by the engraver of GE.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in GE , Corrections in A