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Slurring in A, contextual interpretation |
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Another interpretation of A |
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Slurring in GE1 |
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Slurring in FE |
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Slurring in EE |
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Slurring in GE2 |
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Slurring suggested by the editors |
The slurring in these bars in A is inaccurate and unclear, despite visible corrections:
- it seems that it is the slurs embracing the motifs played by the orchestra that are the starting point (the 2nd and 3rd beats in each of the bars; such slurring is present in Morch without any exceptions). They can be seen in all three bars in the R.H. and in the L.H. in bar 43. The slurs in the R.H. in bars 42-43 were, however, extended to the crotchet on the 4th beat of the bar by Chopin; the slur in bar 44 was not extended, but it was put with aplomb, hence when interpreted literally, it also reaches the 4th beat of the bar;
- it is unclear whether the slur over the final group of demisemiquavers in bar 42, written on the upper stave, refers to the solo part or whether it combines the crotchets of the orchestral part at the transition between bars 42 and 43; it cannot be excluded that Chopin wrote it with one of that functions in mind (e.g. demisemiquavers of the solo part) and then he assumed that it performs a different function (combining the dyads written in small notes);
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at the beginning of bar 44 – opening a new page of #½A – the a
1 crotchet is reached by an ending of a slur whose beginning in bar 43 is totally absent.
GE1 reproduced the version of A with mistakes:
- the slurs in bar 42 and a slur in the L.H. in bar 43 were overlooked;
- the slur in the R.H. in bar 43 starts erroneously from the 1st crotchet.
The only positive element appearing in GE is a slur over the demisemiquavers in bar 43 (from the 3rd note) – it can be considered an inaccurately reproduced Chopin addition, yet it could have also been an attempt of the editor to give meaning to the slur of A at the beginning of bar 44.
The version of FE does not add anything that could help in determining Chopin's intention, since it generally repeats the notation of GE1. The minor differences are probably of an accidental character:
- the slur at the end of bar 43 begins from the 1st demisemiquaver, which, although it seems to correct the inaccuracy of notation of GE1, is not a result of a correction in print;
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the a1 crotchet at the beginning of bar 44 is linked to the next chord.
EE repeated the version of FE by adding slurs embracing the group of demisemiquavers in bar 42 (in both hands). The revision is probably modelled on the slurs of the subsequent bars, particularly bar 44.
On the basis of A, GE2 returned the slurs in the R.H. in bar 42, interpreting them as separated slurs concerning the orchestral part. In bar 43 slurs compatible with our analysis were adopted for the R.H., however, leaving the clearly erroneous beginning of the first of them. Slurs in the L.H. in bars 42 and 44 were also added.
We base the main text on an interpretation of the notation of A and the slur in bars 43-44 added in GE1:
- we consider the 2nd slur in bar 42 to be referring to the solo part and reaching the quaver at the beginning of bar 43;
- we include the slur added in GE in a musically natural form present in FE (→EE);
- we consider the slur written in A at the beginning of bar 44 to be the ending of the slur over the orchestral part in bar 43. On this basis, we analogously extend the slur in bars 42-43 – at the same time, it is an alternative interpretation of the 2nd slur in A in bar 42;
- we add slurs in the L.H. in bars 42 and 44 after the slur of A in bar 43.
Compare the passage in the sources »
category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations
issues: EE revisions, Inaccurate slurs in A, Corrections in A, GE revisions, Authentic corrections of GE, FE revisions
notation: Slurs