The slur over the R.H. phrase visible in FE (→EE) certainly corresponds to the [A] notation, since a slur of the same range was also in FC. However, in this copy Chopin deleted its final part and added, over the sequence of thirds in the bottom voice, a slur linked to the slur over the new phrase in bar 9. Eventually, he deleted the part linking the added slur with the one in bar 9 and added a new ending reaching the last quaver in bar 8. According to us, it is likely that it is also this slur that does not fully reflect the composer's intention:
- the essence of the correction visible in FC was redefining the sequence of thirds from 'a filling of the g1 minim' to 'an introduction to the second period,' which is particularly visible in the first added slur;
- eventually, Chopin considered the first idea to be misleading, since it suggested including the sequence of thirds in the main melodic line of the top voice. However, the fact that he did not decide to lead the slur running over the thirds to the beginning of bar 9 could have been caused by the difficulty in drawing precisely a slur reaching f1 and by the fear of overcomplicating the notation due to the vicinity of the tie to g1.
Taking into account the above analysis, in the main text we suggest encompassing the sequence of thirds with a separate slur led under the notes, which makes it possible to lead it to the d1-f1 third, which ends the sequence. We consider this solution to be neater than the authentic notation, since leaving out the d1-f1 third outside of the reach of the slur from bar 8 could suggest that it is from this third that the slur in bar 9 begins, which would result in it being emphasised, which, in turn, would blur the polyphonic structure of this place.
One can ponder why Chopin did not try to clarify the slurring while proofreading FE. The tie to the g1 minim is placed in such a way that it could also be understood as a slur encompassing the sequence of the bottom voice thirds (reaching d1-f1!). This makes the addition of a slur over the thirds practically impossible, but the composer could have also forgone this burdensome procedure having assumed that this ambiguity was actually sufficient enough to suggest the right performance.
In analogous bar 44 Chopin did not change the initial slurs and ties written by the copyist in FC; however, he added a slur over the sequence of thirds, compliant with the final version of the correction in the discussed place.
Compare the passage in the sources »
category imprint: Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information
issues: Authentic corrections of FC
notation: Slurs