Slurs
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b. 16-17
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composition: Op. 10 No 5, Etude in G♭ major
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The slur in A begins over the penultimate note in bar 16, yet Chopin undoubtedly thought of a category imprint: Interpretations within context; Differences between sources issues: Inaccurate slurs in A |
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b. 17-22
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composition: Op. 10 No 5, Etude in G♭ major
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We think that the slur added by Chopin in a proofreading of FE (→GE,EE) should be interpreted as the articulation model for the next pairs of quavers. Perhaps Chopin thought that the long accents alone are enough to suggest a correct performance. In order to avoid doubts, in the main text we suggest to complete the slurs. The additions, to a slightly greater extent, were also performed in EE3 (→EE4); according to us, the version can be considered as an alternative proposal of the authentic notation's development. category imprint: Differences between sources; Editorial revisions issues: Authentic corrections of FE |
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b. 18
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composition: Op. 10 No 5, Etude in G♭ major
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According to us, the slur of A reaches the last note of the bar, further than it was interpreted in FE (→GE,EE). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 19-22
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composition: Op. 10 No 5, Etude in G♭ major
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In A the slur abruptly ends before the last note of bar 19, which, in our opinion, must be considered as the notation's inaccuracy. In the main text we suggest an interpretation and completion of slurring in accordance with the phrases' structure. category imprint: Interpretations within context; Differences between sources issues: Inaccurate slurs in A |
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b. 23
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composition: Op. 10 No 5, Etude in G♭ major
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In the subsequent bars the slurring and articulation of semiquavers were changed by Chopin. Certain details of the intended result of these changes are not clear, while one of the possible interpretations assumes the slur to be shortened. category imprint: Interpretations within context; Editorial revisions |
3 as the first note under the slur and so it was recreated in the editions. According to us, it is, however, very likely that Chopin mistook the last group in bar 16 with the first group in bar 17, which also starts with a
