The traces of deleting the slur extending over bars 134-138 (to the end of the line) visible in FE are a proof that the slur beginning in bar 129, which replaced the deleted one, was added during proofing of FE1. Bearing in mind the care with which Chopin corrected the editions of his other works published by Troupenas we can be sure that the slur correction was made at the composer's request. This is most probably the latest authentic version of articulation and phrasing markings of that fragment. Despite that, in our opinion there are no reasons to treat it as an ultimate, or even basic (main) one, when we consider that:
- when correcting FE, Chopin was not correcting the version of GC but a different one, probably similar to EE, that was notated inaccurately - the beginning of the slur in bar 134 is absolutely inconsistent with the structure of motifs and phrases. Therefore, the versions of FE and GC may be considered alternative developments of the initial notation of EE. Changes in FE were necessitated by the error, and also haste when proofing could have made Chopin choose the relatively simple and safe solution without analysing the details of internal divisions of the phrase.
- The version of GC reproduces the notation of the autograph, definitely well-thought, and also conveys some more detailed information on articulation and phrasing.
The versions of GC and FE, although very different, may not necessarily mean different performance. For instance, it seems quite natural to perceive the fact of including the octaves in bars 129-130 in the scope of the slur as a tip concerning phrasing, not as a change of articulation. So, the two versions draw the perfomer's attention to different aspects of the musical matter of that fragment: the slur of FE separates the entirety of that important phrase that serves as preparation for the second, chorale part of the Scherzo, while the markings of GC give more precise instructions for the articulation in bars 129-130 and indicate four-bar sections (b. 136-139 and 140-143) signalling the rhythmic pattern that governs the chorale part of the work.
Compare the passage in the sources »
category imprint: Differences between sources
issues: GE revisions, Authentic corrections of FE, Inaccuracies in GC
notation: Slurs