



Slurs
b. 148-153
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composition: (Op. 4), Sonata in C minor, Mvt I
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Pianistically and musically speaking, it is obvious what slurs should be used in bars 147-153, mostly build of three-note motifs; it is confirmed by the group of several dozen A slurs, undoubtedly encompassing entire motifs. Nevertheless, in A we can find a number of inaccuracies in the remaining figures:
In the main text we standardise the slurs concerning these motifs in accordance with what was already carried out in GE (→FE,EE,IE). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , GE revisions |
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b. 153-154
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we provide the A slur in its literal interpretation. However, the interpretation adopted by the editions is by all means reasonable and recommendable as such, particularly in the face of numerous inaccuracies of A in terms of slurs – see, e.g. the note on bars 148-153. category imprint: Differences between sources issues: Inaccurate slurs in A , GE revisions |
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b. 156
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composition: (Op. 4), Sonata in C minor, Mvt I
category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 158
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composition: (Op. 4), Sonata in C minor, Mvt I
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The beginning of the slur must be inaccurate in A; however, it is uncertain whether Chopin wanted the ending of the slur to encompass the B category imprint: Graphic ambiguousness issues: Inaccurate slurs in A |
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b. 160-162
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composition: (Op. 4), Sonata in C minor, Mvt I
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The change of the range of slurs introduced by GE (→FE,EE,IE) illustrates the manner of adjusting slurs (and dynamic hairpins) to easily perceptible rhythmic structures, in this case halves of bars. category imprint: Differences between sources issues: GE revisions |