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Op. 25 No 2, Etude in F minor

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Slurs

b. 18-20

composition: Op. 25 No 2, Etude in F minor

Slur in AT

Slurs in AW (contextual interpretation)

Slurs in CDP, GC (→GE), FE & EE
..

In AT the slur beginning in bar 18 reaches simply until the end of the manuscript, which perhaps influenced the simplified notation without marking the return of the initial thought of the Etude.
In AW the slur reaches – inaccurately – until the end of bar 17, while bars 18-19 are generally not embraced with a slur. However, it seems that the slur being a brace limiting the range of the first volta was treated by Chopin as phrasing one (similarly the slur of the second volta in bar 20).

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

b. 20

composition: Op. 25 No 2, Etude in F minor

..

In AT the last triplet in the part of the L.H. is at the same time the first figure of this type provided with a slur (not counting the four-note passage in bars 18-19). However, it is not clear from which note it is to be valid according to Chopin, whether from e or g1; according to us, the first possibility is more plausible. Moreover, the slur clearly leads beyond this triplet, as it would be difficult to indicate an unambiguous interpretation of such notation, which, in addition, may be devoid of any serious meaning.

category imprint: Differences between sources

b. 23

composition: Op. 25 No 2, Etude in F minor

Divided slur in AW

Continuous slur in CDP, GC (→GE), FE & EE
..

category imprint: Differences between sources; Corrections & alterations

b. 57

composition: Op. 25 No 2, Etude in F minor

Double slurs in AW

Continuous slur in CDP & EE

Slurs in GC (→GE1)

Slurs in GE2 (→GE3)

Slurs in FE
..

There is no doubt about the moment of breaking the slur in the 2nd half of bar 57, despite differences in the sources. The compatible versions of AW and FE are additionally confirmed by the slurring of AW in bars 7 and 26 and, what is important, by the separation sign added by Chopin in FED between the 8th and 9th quavers in the bar. The slurring of GC (→GE1) is certainly erroneous (inaccurate, sometimes even incongruous slurs are characteristic for Gutmann as copyist). The version of GE2 (→GE3) is a non-authentic attempt to agree the slurs and staccato (portato) dots. It is much more difficult to explain the origin of compatible version of CDP and EE, perhaps it is the original notation of [A], while the separation of slurs in the 2nd half of the bar took place between preparing the copy, being base text to EE, and handing the autograph to Gutmann, whose result was GC.

The issue of number of the portato dots – see the adjacent note. 

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Inaccuracies in GC

b. 58-59

composition: Op. 25 No 2, Etude in F minor

New slur in AW

Continuous slur in CDP, GC (→GE), FE & EE
..

The compatibility of the sources deriving from [A] proves that the continuous slur must have been written there in a way that did not raise any doubts.

category imprint: Differences between sources; Corrections & alterations