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Slurs

b. 24

composition: Op. 25 No 5, Etude in E minor

Short accent in FC (→GE), FE & EE

Long accent suggested by the editors

category imprint: Interpretations within context; Editorial revisions

issues: Long accents

b. 29-36

composition: Op. 25 No 5, Etude in E minor

Slurs in FC (→GE) & EE

No slurs in FE

..

The absence of slurs over the entire eight-bar section can be the original version, left by inaccuracy – initially, Chopin could have considered this change of notation to be a sufficient signal of the change of the theme's articulation. 

category imprint: Differences between sources

b. 66-67

composition: Op. 25 No 5, Etude in E minor

One slur in FC (→GE) & FE

Two slurs in EE

..

The broken slur in EE is probably a result of a kind of misunderstanding at the time of interpreting the manuscript by the copyist or the engraver.

category imprint: Differences between sources

b. 70

composition: Op. 25 No 5, Etude in E minor

Slur from bar 70 in FC, FE, EE & GE2 (→GE3)

Slur from bar 71 in GE1

..

The missing slur in the L.H. in bar 70 is undoubtedly a mistake of the engraver of GE1, corrected in GE2 (→GE3), in accordance with FC.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 72-76

composition: Op. 25 No 5, Etude in E minor

2 slurs in FC (→GE)

5 slurs in FE

1 slur in EE

..

Lack of visible traces of corrections in the sources impedes to determine how the differences in the slurring of this four-bar section occurred. However, most probably all three ways of slurring are authentic:

  • the slurs of FE correspond to the positions of the hand on the keyboard and they are compatible with the slurring of the pair of chords in the L.H., articulating the shortest expressively important motifs;
  • the slurs of FC and EE determine the musical wholes – two- or four-bar respectively – in a broader time perspective.

In the main text, we give the slurring of the base source, i.e. FE.

category imprint: Differences between sources

issues: Inaccuracies in FE