mUltimate Chopin

Op. 50 No. 1, Mazurka in G major

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 12-13

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

No sign in Afrag

 in A1 (literal reading→FE1)

 in A1, contextual interpretation

in GE & EE
..

According to us, the  hairpin written in A1 is to be interpreted as ending before the  indication in b. 13. It is most likely that Chopin first wrote the top arm (perhaps before entering ) and then indicated the end of the mark with the ending of the bottom arm. Such an interpretation is confirmed by the mark of A1 in b. 36 and the notation of GE based on [A2] (in GE2 the mark was shortened with respect to GE1, which does not influence its meaning). In FE the mark was interpreted according to the length of the top arm; moreover, FE2 reproduced it inaccurately. It remains unclear how come that the mark was shortened in EE – perhaps by analogy with b. 36. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , Corrections in A , EE inaccuracies , Hairpins denoting continuation , Inaccuracies in A

b. 17

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

No mark in Afrag, A1, GE & EE

Staccato dot in FE
..

The staccato dot was most probably added by Chopin in the last stage of proofreading of FE, since it is absent in EE. The absence of the mark in GE may be explained by an oversight of the engraver or even of Chopin in [A2], hence we include the dot in the main text. See also b. 21.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 17-21

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

2 staccato dots in A1

No marks in FE (→EE)

Dot in bar 21 in GE
..

According to us, the staccato dots under E in the L.H. that appear in the sources in b. 17 and 21 are enough to confirm the composer's intention concerning their presence. The dots are in both bars in A1 and in b. 21 in GE, which means that Chopin wrote them in the autographs in at least three out of four cases (the fourth could have been written indistinctly in [A2], just like both dots in A1, which are also indistinct).

category imprint: Differences between sources

b. 24

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

No sign in A1 (→FE→EE)

in GE
..

In the main text we include the  hairpin written in [A2] (→GE).

category imprint: Differences between sources; Corrections & alterations

b. 25-33

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

Wedges in A1

Staccato dots in FE (→EE) & GE
..

In b. 25 and 33, taking into account the possibility of an inaccurate, simplified interpretation of possible wedges of [A2] by GE, in the main text we give the wedges written in A1. The interpretation of those marks in FE is most probably inaccurate.

category imprint: Differences between sources

issues: Inaccuracies in FE , Wedges