mUltimate Chopin

Op. 50 No. 1, Mazurka in G major

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b. 9

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

No marking in Afrag & A1 (→FE→EE)

in GE
..

The  marking is one of a few dynamic indications added by Chopin most probably in [A2] (→GE). The same applies to b. 33 as well as to b. 65, in which in this autograph, same as in A1, it was probably marked as repetition of b. 9. See also b. 53 and 57.

category imprint: Differences between sources

b. 11

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

Separate slurs in Afrag & A1 (→FE→EE)

Continuous slur in GE
..

In A1 the slur started in b. 9 undoubtedly reaches the 1st quaver in b. 11, in spite of a minor inaccuracy of notation – in b. 10 (at the end of the line) the slur does not go beyond the bar line, yet its ending is written in b. 11. The separated slurs of both preserved manuscripts may be considered here an equal variant, just like in b. 7 and further repetitions of that phrase. In the main text we give the continuous slur of [A2] (→GE). 

category imprint: Differences between sources

issues: Inaccurate slurs in A , Uncertain slur continuation

b. 11-12

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

No sign in Afrag, A1 & EE

in FE

in GE
..

Chopin added a  both in [A2] (→GE) and in the proofreading of FE; however, the range of the marks differs significantly: the mark in FE emphasises chiefly the very culminant chord, whereas the hairpin of GE creates a slightly further plane of escalation. In the main text we follow the principal source, i.e. GE, yet we consider the latest version of FE to be an equal variant. There is a similar situation in b. 67-68.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 11-12

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

No markings in Afrag, A1, GE & EE

  in FE
..

In the main text we include the pedalling added by Chopin in the last phase of proofreading of FE. The same applies to b. 35-36 and 67-68.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 12

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

No slur in Afrag

Slur from bar 12 in A1 (→FE)

Slur from bar 15 in GE

2 slurs in EE
..

In the main text we adopt the undoubtedly authentic slur of A1, written in the same way in b. 36-37 (b. 68-69 are marked as repetition of b. 12-13). In turn, the authenticity of the slur of GE is not entirely certain, since the engraver could have misinterpreted the notation of [A2], e.g. due to the transition into a new line in the manuscript or other inaccuracy of notation. In a simple chordal texture, starting from the 3rd beat in b. 12, such a change – in relation to A1 – of phrasing in the L.H., contrary to the R.H. slur, seems to be inconceivable. In Afrag, which ends in b. 12, there are no L.H. slurs. In FE the beginning of the slur in b. 12, which closes the line of the text, is placed under the stave, whereas its continuation in the next bars – over. We interpret that illogical notation as a continuous slur, in accordance with A1. In turn, in EE each part of the slur was reproduced as a complete, separate slur.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE