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Op. 50 No. 1, Mazurka in G major

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b. 79

composition: Op. 50 No. 1, Mazurka in G major

Overlapping slurs in A1 (→FE)

Continued slur in GE

Separate slurs in EE
..

In the main text we give the slurs of A1 (→FE), which show the inner structure of b. 77-80 while suggesting that the continuity of the phrasing should be preserved. The separation of the slurs on the rest is a revision of EE, which is actually sensible; however, it does not correspond to the notation of A1, since it is rather the ending of the previous slur that could be considered inaccurate therein.

category imprint: Differences between sources

issues: EE revisions

b. 80

composition: Op. 50 No. 1, Mazurka in G major

..

FE2 overlooked the semiquaver beam, as a result of which g2 looks like a quaver.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE

b. 80-81

composition: Op. 50 No. 1, Mazurka in G major

Overlapping slurs in bar 80 in A1, literal reading

Overlapping slurs to bar 81 in A1, possible interpretation

Continuous slur in bar 80 in A1 (probable reading) & GE

Continuous slur to bar 81 in A1, probable interpretation

Slur in bars 79-82 in FE (→EE)
..

The slurring of A1 in b. 80, which ends the line, poses a difficult editorial problem, mainly due to the last slur in that bar: it can be interpreted as a separate slur or as an inaccurately added ending of the previous one; moreover, its range suggests continuation on a new line, which is not confirmed by the slur in b. 81-82. According to us, it is a flamboyantly added ending of the slur from b. 79, and this is the interpretation we adopt to the main text. At the same time, it is compliant with the notation of GE in these bars. We give the remaining possibilities as alternative versions, since each could correspond to Chopin's intention. In FE (→EE) it was also assumed that b. 79-80 are encompassed with one slur, yet it was combined with the next one, in b. 81-82, which is very questionable in terms of music.   

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 81-83

composition: Op. 50 No. 1, Mazurka in G major

5 long accents in A1

5 short accents in FE

3 long, 2 short accents in GE1

2 long, 3 short accents in GE2

3 short accents in EE
..

The long accents of A1 are most probably an earlier version and may be considered a variant. The short accents of FE could also have been accepted by Chopin, who added two of them – in b. 81-82 – probably in the last stage of proofreading, since they are absent in EE. In the main text we give differentiated accents after GE2, which fittingly systematised the notation of GE1, which is slightly chaotic, yet most probably substantially compliant with [A2]. Moreover, we suggest an alternative interpretation of the notation of GE1, consistent with the literal interpretation of A1 in b. 73-75. 

category imprint: Differences between sources

issues: Long accents , GE revisions , Authentic corrections of FE

b. 81

composition: Op. 50 No. 1, Mazurka in G major

No markings in A1 (→FE→EE)

Pedalling in GE
..

The pedalling was added by Chopin most probably to [A2] (→GE).

category imprint: Differences between sources; Corrections & alterations