Slurs
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b. 4-5
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composition: Op. 25 No 10, Etude in B minor
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In GC both the end of the slur in bar 4 (at the end of the line) and the beginning of the slur in bar 5, starting the new line, are written with such an extensive movement that they can be interpreted as one slur. According to us, it is, however, more likely that Chopin wanted to emphasise the beginning of the theme with a new slur. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Inaccuracies in GC |
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b. 11
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composition: Op. 25 No 10, Etude in B minor
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In the main text we give the separated slurs on the basis of the undeniable notation of GC (→GE). However, it cannot be excluded that Chopin combined the slurs in the base texts to FE and EE. category imprint: Differences between sources |
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b. 12-13
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composition: Op. 25 No 10, Etude in B minor
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The inaccurately written slurs of GC are, however, according to us, separated. It cannot be excluded that it looked similarly in the base texts to FE and EE. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Inaccuracies in GC |
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b. 23
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composition: Op. 25 No 10, Etude in B minor
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In the main text we give the beginning of the slur in bar 23 after GC (→GE1) and FE. The version of EE may also be authentic – beginning a new slur from the 2nd quaver in this bar seems to be highly justified if we take into account the repetition of the b2-b3 octave in the R.H. and leap in the L.H. In turn, beginning a new slur from the beginning of the bar is an arbitrary revision of GE2 (→GE3). category imprint: Differences between sources |
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b. 23-25
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composition: Op. 25 No 10, Etude in B minor
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According to us, GE1 correctly acknowledged that the longer slurs of GC were supposed to replace the shorter, according to Chopin, written under them and probably earlier. It is indicated by the addition of accents, which may be considered as an equivalent of shorter slurs in bar 24. Therefore, we give this version in the main text, however, one has to admit that it is the slurs of FE that display higher compatibility with the structure of motifs, as the last two triplets in bar 24 constitute a shortened version of the earlier, six-note motifs in bar 23 and in the 1st half of bar 24. The slur of EE may also be authentic. category imprint: Interpretations within context; Differences between sources issues: GE revisions |
