mUltimate Chopin

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

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Slurs

b. 4-6

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

..

It is unclear how to understand the combination of the ties between the d1 notes in bars 4-5 and the c1 notes in bars 5-6 and the arpeggio marks preceding the chords at the beginning of bar 5 and 6, since the markings seem contradictory. There are two possibilities:

  • one can consider the ties to be slurs and play the entire chords as arpeggios, repeating the aforementioned notes;
  • one can reduce the range of the arpeggios to the two bottom notes of the discussed chords, holding the topmost note.

category imprint: Source & stylistic information

issues: Tie or slur

b. 10-12

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

Wedges & slurs from 2nd quaver in A, contextual interpretation

Whole-bar slurs in GE (→FE,EE,IE)
..

The GE version (→FE,EE,IE), in which the wedges over the octaves at the beginning of bar 10 and 12 were ignored and the entire bars were encompassed with slurs, indicates that the engraver of GE was firmly convinced that Chopinesque slurs were generally careless. However, in this case, adjusting them to clear rhythmic structures certainly does not correspond to Chopin's intention, since in all further appearances of this phrase (bars 193-195 and 376-378) he wrote slurs running from the 2nd quaver in the bar.
It is only the ending of the slur in bar 10 that is to be considered inaccurate; when interpreted literally, in A it reaches only b.

category imprint: Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 16

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

2 slurs in A, literal reading

Continuous slur in GE (→FE,EE,IE)

No slurs, our alternative suggestion
..

There are a few ways to interpret the two lines visible in A under the R.H. quavers, as illustrated by the suggested variants. The version of the editions can be considered an interpretation of the A notation – it is likely that the first line, bolder, was meant to continue the second one so that together they constitute a six-quaver slur. The reflection on the function of these slurs, which are, after all, only a supplement to the continuous slur led over the notes, leads to the following interpretation possibilities:

  • The slurs are to indicate the internal figuration structure. This would be an argument for the version with two slurs, as a 6-quaver structure cannot be applied further on.
  • The slurs were Chopin's first take on slurs, which he then abandoned by adding the top, several-bar long slur. Examples of such unfinished corrections can be found in mov. I of the Sonata, e.g. in bar 179.

In the main text we provide two slurs, which are closest to the actual notation. The version of the editions can be considered an alternative interpretation, whereas the version without slurs – an acceptable variant. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 16

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

No slur in A

Slur in GE (→FE,EE,IE)
..

In the main text we include the slur added in GE (→FE,EE,IE) – Chopin's inadvertence is evidenced by the slurs in the corresponding places in analogous bars 17-19.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 17-18

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

Slurs in A

No slurs in GE (→FE,EE,IE)
..

The slurs starting in bar 17 are poorly visible in A, which could have led to them having been omitted by GE (→FE,EE,IE). In addition, the notation of the L.H. part on the top stave (not included in our transcriptions) would have made it difficult for the engraver, even if he had noticed these slurs.

category imprint: Differences between sources

issues: Inaccurate slurs in A , Errors in GE