Articulation, Accents, Hairpins
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b. 4-8
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composition: Op. 30 No. 2, Mazurka in B minor
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The use of vertical accents (unauthorised by Chopin) – instead of common, short horizontal accents in bars 4 and 8 – is a frequent phenomenon in first English editions. category imprint: Differences between sources issues: EE revisions |
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b. 24
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composition: Op. 30 No. 2, Mazurka in B minor
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The FC accent was most probably written by Fontana, which suggests that it was overlooked in FE. The version without an accent could be however considered equal due to the dynamics of this bar, which was not specified – after the 7-bar cresc., category imprint: Differences between sources issues: Errors in FE |
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b. 32
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composition: Op. 30 No. 2, Mazurka in B minor
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Due to the reasons discussed in bar 24, we regard the version without an accent as equal, while in the main text we suggest a variant solution. category imprint: Differences between sources |
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b. 56
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composition: Op. 30 No. 2, Mazurka in B minor
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For reasons discussed in the analogous bar 24, we propose a variant solution in the main text, with an accent in parentheses. category imprint: Differences between sources; Editorial revisions |
seems natural; in this situation, a dynamic accent is actually superfluous, as the next bar begins in 
dynamics. Nevertheless, even then this accent could be regarded as a typical mazurka feature, which is related to adequate, dance rubato (delay of the 3rd beat of the bar). Taking into account the above, in the main text we suggest a variant solution, leaving the choice of adequate dynamic relations (and perhaps agogic) in this bar to the performer.
