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Op. 50 No. 1, Mazurka in G major

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Rhythm

b. 72

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

G repeated in bar 73 in A1 (→FE→EE)

G tied in GE

Our variant suggestion
..

The version with tied G, having been entered into [A2], is almost certainly later. On the other hand, Chopin had a few opportunities to add that tie while proofreading FE, hence it is uncertain whether he actually considered that change to be final. It is easy to point out the advantages of each of the versions:

  • sonic consistency if we repeat G,
  • emphasis on new elements of the harmony (fifth and prime of the E major chord) and of the texture (octave doubling of the soprano) if we hold the bass note.

Due to that reason we give the main text a variant form.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Accompaniment changes

b. 73

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

G repeated in A1 (→FE→EE)

G tied in GE

Our variant suggestion
..

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Accompaniment changes

b. 76-77

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

Tie to b in A1

Slur d1-b in FE (→EE)

No tie in GE

Our variant suggestion
..

It is difficult to say whether the absence of the tie of b in GE means that Chopin abandoned the idea of holding that note or whether it is a result of an oversight of the engraver or of Chopin himself. Due to the above reason we suggest a variant solution with the tie in brackets.
In FE (→EE) the tie was misinterpreted as a slur combining the d1 crotchet in b. 76 with the bottom note of the chord at the beginning of b. 77. As all other ties, written in A1 in the same manner, typical of Chopin, were reproduced in FE correctly, the mistake could have been provoked by the fact that b. 76 was written in A1 on a stave above (due to deletions). 

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , Errors resulting from corrections

b. 78

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

Dotted rhythm in A1 (→FE→EE)

Quavers in GE
..

The quavers in the L.H. top voice might be a mistake of GE, since due to the parallel movement, the voices are not independent. In the entire Mazurka a similar combination of L.H. quavers with R.H. dotted rhythm appears only twice, in b. 47 and 54. In both cases the voices co-create the polyphonising texture and are clearly independent.

category imprint: Differences between sources

issues: Errors in GE , Dotted or even rhythm

b. 78

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

..

FE2 overlooked the quaver flag next to the third at the end of the bar.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE