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As an example, in the Joseffy edition of the Chopin Nocturne op.62 no.1, there are many instances where a "left parenthesis" is used in front of a chord. I have always assumed this means a rolled chord, but the usage is inconsistent as oftentimes the same editor uses the standard wavy line. Am I misinterpreting this? Is there a distinction to be made in performance?

Example: Chopin Op. 62, No. 1, mm. 29–32, Joseffy Edition

Aaron
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MICHAEL WALTERS
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  • see also: https://music.stackexchange.com/a/115472/54823 – rfbw Mar 02 '22 at 16:32
  • I've always interpreted that notation as indicating _not_ "rolling" the notes, though it was never clear to me (in some of those specific spots) why anyone would get the idea, or feel a need, to roll them in the first place. In the measure-four case, a small hand might need to, but, still, it's a "short tenth"... – paul garrett Mar 02 '22 at 18:23
  • related: _secco_, non-arpeggio, indicated by square bracket. https://music.stackexchange.com/questions/109683/ – Michael Curtis May 06 '22 at 00:09

1 Answers1

2

TL;DR

The vertical slurs and wavy arpeggio markings both indicate arpeggios.

Summary

It seems that Chopin's arpeggio notation evolved over time. In the autograph of his Prelude in A minor, the final chord (m. 23) is clearly marked by a wavy line. However, the Nocturne Op. 55 employs a vertical slur for its final chord (m. 99). In the latter case, however, there is no doubt that an arpeggio is intended. Similarly, Op. 62 No. 2 uses vertical slurs.

The available evidence suggests that the Joseffy edition's use of arpeggio (wavy line) marks in mm. 5, 35, and 36 are editorial/proofreading mistakes. For consistency, all should be vertical slurs.

The Written Evidence

The below table gives the markings used for chords in measures 4 – 9 of Op. 62 No. 1. Note the overall inconsistency in which marking, or none, is used.

Legend

n = no mark
a = arpeggio
s = vertical slur
Edition m. 4 5 6 7 8 9
Chopin Variorum Editions
Stichvorlage autograph 1 p n p p p n
Stichvorlage autograph 2 p p p p p n
French First Edition p p p p p n
French First Edition (Dubois) p p p p p n
French First Edition (Franchomme) p p p p p n
German First Edition p n p p p n
German Second Edition p n p p p n
German Second Edition — corrected p n p p p n
English First Edition n p p p p n
Complete Works (German) a a a a a n
Kullak a a a a a n
Klindworth n n n a a n
Mikuli p a p p p n
Scholtz p p p p p p
Joseffy p a p p p n
Cortot a a a a a n
Elkier a a a a a n
Personal Editions
Paderewski(1) p p p p p n
Henle Urtext(2) a a a a a n

(1) The Paderewski edition contains the following note:

the original editions in this work always use a vertical slur to indicate the arpeggio, and not a wavy line. We have retained this peculiarity.

The edition further notes the German First Edition's bar 5 omission of the arpeggio.

(2) The Henle Urtext, like the Paderewski edition, notes the German First Edition's bar 5 ommission, and includes further reference to the parallel moment in bar 30, which contains an arpeggio (wavy or smooth) mark in all editions.

SOURCES:

  • All autographs and first editions come from the Chopin Variorum Edition.
  • All editorial editions, excepting Paderewski and the Henle Urtext, are from ISMLP.
  • The Paderewski and Henle editions are from my own bookshelves.
Aaron
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