Slurs
|
b. 1-14
|
composition: Op. 25 No 2, Etude in F minor
..
The slurs in the L.H. appeared in the notation of the Etude together with the transition to two times bigger rhythmic values – in AT, where the part of the L.H. is written with quaver triplets, there are no slurs. However, the consistency with which Chopin wrote them throughout the entire piece may mean that their function probably exceeds the indication of a rhythmic grouping, suggesting also the legato articulation. category imprint: Differences between sources; Corrections & alterations |
||||||||
|
b. 1-2
|
composition: Op. 25 No 2, Etude in F minor
..
AT has a clearly different slurring here, reflecting, to a significant extent, the structure of the phrase: the upbeat is not included in the phrasing slur, while above each bars 1-2, there is a separate slur. Cf. bars 6-8, 9-10, 16-17, 18-20. category imprint: Differences between sources; Corrections & alterations |
||||||||
|
b. 6-8
|
composition: Op. 25 No 2, Etude in F minor
..
In the version prepared for print, Chopin abandoned in this fragment any attempts to suggest any phrase divisions, both structural (AT) and expressive (AW). The written in AW phrase breath effect in the 2nd half of bar 7 (and 26) was used – in the form underlined with articulation – only on the occasion of the last appearance of this fragment (bar 57). category imprint: Differences between sources; Corrections & alterations |
||||||||
|
b. 9-10
|
composition: Op. 25 No 2, Etude in F minor
..
The slurs in bars 9-10 in AT may be interpreted in two ways. According to us, the divided slurs are much more likely here – while drawing the slur over bar 9, Chopin dragged the line too far, broke it and entered a new slur from the beginning of bar 10 (a similar situation occurred with the previous slur, starting from bar 7 and whose ending in bar 8 was, however, marked more clearly). category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Inaccurate slurs in A |
||||||||
|
b. 16-17
|
composition: Op. 25 No 2, Etude in F minor
..
One-bar slurs of AT correspond to the specifics of slurring of this autograph (cf. bars 1-2). In later sources, longer slurs underline the smoothness of the figurations' line. category imprint: Differences between sources; Corrections & alterations |
