Slurs
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b. 9
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composition: Op. 2, Variations, complete
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The starting point of the slur in A cannot be explained either musically or pianistically, hence we can assume an inaccuracy of notation here. The reason for an earlier start of the slur in GE (→FE,EE) is probably a routine approach of the engraver of GE1, although one cannot completely rule out Chopin's possible correction. Anyways, the composer did not question such a slur while proofreading FE1, for example, in the previous bar. category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE |
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b. 11
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composition: Op. 2, Variations, complete
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This is one of many inaccuracies of GE in the reproduction of Chopinesque slurs (as well as, e.g. dynamic hairpins), which would often be adjusted to clear rhythmic structures, e.g. beams or bars. However, it should be noted that A can also be imprecise in this respect – cf., e.g. b. 9. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 11
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composition: Op. 2, Variations, complete
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In the main text we keep the notation of A (→GE→FE1→FE2), in which the slur starts from the tied d4 demisemiquaver. Chopin would often apply such a type of notation of slurs throughout his entire life. The equivalent notation of EE and FESB probably reflects the individual preferences of the engravers of those editions. category imprint: Differences between sources issues: Inaccuracies in FE , EE inaccuracies |
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b. 14
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composition: Op. 2, Variations, complete
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It is difficult to evaluate the authenticity of the version of GE (→FE,EE), featuring only one R.H. slur in this bar. The longer slur of A, not included in the editions, does not seem to be a part of an irregular group marking, since it goes beyond it, to the c3-c4 octave. Therefore, it should be assumed that it concerns phrasing/articulation; when omitted, it impacts the articulation of the last five demisemiquavers, particularly if we take into account the change of dots to wedges, also performed in GE. On the other hand, upon seeing GE, Chopin could have considered one slur to be enough and the markings as a whole to be acceptable. In this situation, we regard both sets of markings (dots under a slur or wedges) as more or less equal, keeping in the main text the version of the principal source, i.e. A. category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE , Revisions in FESB |
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b. 15
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composition: Op. 2, Variations, complete
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The undoubtedly Chopinesque change of slurring introduced into FE1 was the last stage of specifying the rhythm and the articulation in this bar, hence we include it in the main text. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
