In A (→FE→GE,EE1→EE2), the L.H. crotchets are provided with inconsistent articulation markings – in addition to the ubiquitous staccato dots, the pairs of crotchets in the 2nd half of b. 10, 12, 14, 16, 18 and 20 are also provided with a slur. When interpreted literally, the articulation deviates from the one indicated for the respective R.H. crotchets, which are consistently marked with both dots and slurs. However, there are no doubts that in this texture, based on the juxtaposition of the melodic top R.H. voice with the rhythmic and harmonic accompaniment performed by both hands, all elements of the crotchet chords are to be played with the same articulation. In the original layout, the slurs encompassing the pairs of the R.H. crotchets are placed above them, which naturally suggests that they also refer to the L.H. crotchets. Chopin would often reach for such a simplified notation – cf., e.g. the middle section of the Mazurka in A
major, Op. 50 No. 2, in which the performance of the L.H. part, devoid of markings, must include the indications written in the R.H. Should we assume such an interpretation, it becomes clear why there are slurs in the L.H. part in the aforementioned bars – in those places the crotchet accompaniment is in the L.H. only.
In the main text we move the markings concerning the R.H. crotchets under the stave, which ensures better readability of the R.H. part; at the same time, it visually excludes the L.H. part from the impact of those markings. Therefore, to avoid any doubts, we give slurs over all L.H. crotchets. In analogous b. 95-99 Chopin himself, while proofreading FE1, supplemented his original notation in this way. This solution was also adopted by EE3.
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category imprint: Interpretations within context; Editorial revisions
issues: EE revisions
notation: Slurs