Issues : Inaccurate slurs in A
b. 16-17
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composition: Op. 28 No. 11, Prelude in B major
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B. 16 falls in A at the end of the page, while the slurs are ambiguous – the ending of the slur in b. 16 goes slightly beyond the bar line, which may suggest continuation; however, it is not confirmed by the beginning of the slur in b. 17. In FC (→GE) Fontana considered it to be divided slurs, which, from the graphical point of view, is more likely. However, a comparison with analogous situations in b. 4-5 and 8-9, in which – particularly in the former – A features undoubtedly continuous slurs, tips the balance of probability in favour of the interpretation of FE (→EE), according to us. category imprint: Differences between sources issues: Inaccurate slurs in A |
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b. 20-21
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composition: Op. 28 No. 11, Prelude in B major
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The slurs of A between b. 20 and 21 may be questionable – when interpreted literally, the latter begins before the bar line, which could be interpreted as two slurs coinciding on the f2 quaver. However, according to us, it is an inaccuracy that is more likely – cf., e.g. . In FC (→GE) Fontana assumed – wrongly, according to us – that Chopin wanted to combine both slurs here. In FE the slurs are ambiguous; however, it is not related to the notation of A, since in that edition continuation is suggested by the ending of the first slur (in b. 20, at the end of the line), which is not confirmed by the new slur in b. 21. category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Inaccuracies in FE , Inaccurate slurs in A , Errors of FC |
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b. 25-26
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composition: Op. 28 No. 11, Prelude in B major
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In A the ending of the slur in b. 25 (at the end of the line) very suggestively points to continuation, which is, however, not confirmed by the slur in b. 26. Both FC (→GE) and FE (→EE) reproduced those inconsistent slurs as one continuous slur. According to us, musically speaking, it would be more convincing to divide the slurs, since b. 21-25 constitute a coherent whole, kept in one register and melodically and harmonically complete: , whereas the last two bars – sonically separated (lower register) – complement the entire Prelude. If we were to adopt such an interpretation, we would have to assume that the ending of the slur in b. 25 is inaccurate, which is only seemingly impossible – cf. the similarly elongated, certainly inaccurate ending of the slur in b. 27. category imprint: Graphic ambiguousness |
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b. 25-27
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composition: Op. 28 No. 11, Prelude in B major
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As with the R.H. part, the issue concerning continuation of the L.H. slur is unclear in A due to the transition to a new line – the slur in b. 25 (at the end of the line) may suggest continuation, yet not due to its length, but due to the absence of the final curve; however, the slur in b. 26 does not confirm it. Due to the reasons discussed in the indicated note on the R.H. slur, we assume divided slurs to be more likely, and this is the version we suggest in the main text. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , Embracing slurs , Errors of FC , Uncertain slur continuation |