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Different slurs in FE |
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Different slurs in GE |
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Different slurs in EE |
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Slurs from 1st note (contextual interpretation) |
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Slurs from 2nd note, "statistical" interpretation |
In bars 44, 46 and 48-49, each of the semiquaver groups separated with beams (or ended with a quaver) is provided in the sources with a slur. It is the starting point of the slurs that is questionable – in FE, the majority of them begins from the 2nd note of the group (only 3 slurs run from the 1st note, while two are unclear); similar statistics can be observed in EE. Relatively, the biggest number of slurs starting from the 1st note is recorded in GE, which suggests that the engraver of GE tried to interpret and locally unify the slurs in that direction. It seems to be obvious that according to Chopin, all slurs were supposed to begin in the same manner, hence both our suggestions include unified slurs. In similar situations, it is most often the statistical criterium that is applied, and it is the version that appears more often that is considered to be more likely. However, in this case, there are reasons to consider the less frequent version to be the one intended by Chopin:
- Chopin wrote here slurs on the notehead side, which contributed to the fact that he did not have space to draw a slur over (in the L.H. under) the 1st semiquaver, since it is always accompanied by a quaver or a crotchet of the second voice, which is separated by a third or a second only (wherever the interval is bigger – in the R.H. at the end of bar 49 – in FE the slur runs from the 1st note). The engraver could have interpreted such slurs to be beginning from the 2nd note, particularly since it was also easier for him to draw shorter slurs.
- Shorter slurs would define another grouping of semiquavers, different from the beats of the bar and groups determined by beams, which, practically, would unnecessarily complicate the performance in opposition to the function of this fragment, calming the course of music in anticipation of the presentation of the main theme of the Rondo.
- The outer, longer slurs in bars 44 and 46 underline the smoothness and homogeneity of these figures. The slurs running from the 1st note, being compliant with the natural grouping of the motifs, are not contrary to that character. In turn, it is a problem in the case of the slurs starting from the 2nd note.
- Similar figures are to be encountered, e.g. in the Etude in F Major, Op. 10 No. 8, bars 37-55. In that case, all slurs are compliant with the natural grouping of the figures.
Compare the passage in the sources »
category imprint: Interpretations within context; Editorial revisions
issues: Inaccuracies in FE, GE revisions, EE inaccuracies
notation: Slurs