Slurs
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b. 37
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composition: Op. 50 No. 1, Mazurka in G major
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Just like in b. 12-13, we consider the slur starting from G category imprint: Differences between sources |
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b. 40-41
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composition: Op. 50 No. 1, Mazurka in G major
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According to us, the continuous slur of A1 may result from overlapping of two inaccurately written slurs – in b. 40, which ends the line, and in b. 41, which opens the next one. The fact that it is probably the slur in b. 40 that is inaccurate is proven by the R.H. slur, which also clearly suggests continuation, in spite of the fact that b. 41 opens with a rest. It would mean that Chopin had one slurring concept from the very beginning, i.e. separated slurs, which was conveyed by GE. category imprint: Interpretations within context; Differences between sources issues: Inaccurate slurs in A |
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b. 41-42
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composition: Op. 50 No. 1, Mazurka in G major
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The omission of the slur of A1 in FE (→EE), which is based thereon, suggests that a similar situation could have taken place in the relationship between [A2] and GE. Such slurs over single notes of the upper voice can be found on several occasions in Chopin's oeuvre, e.g. in the Waltz in A category imprint: Differences between sources issues: Tenuto slurs |
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b. 45-48
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composition: Op. 50 No. 1, Mazurka in G major
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The version of FE2 is almost certainly erroneous, since it overlooked the ending of the slur on a new line. According to us, the remaining two versions of the slurring – along with their corresponding variants in b. 49-53 – may be considered equal, since their authenticity does not give rise to any objections; moreover, both are supported by certain musical arguments (cf. b. 87-91). category imprint: Differences between sources issues: Errors in FE |
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b. 49-53
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composition: Op. 50 No. 1, Mazurka in G major
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In GE the slur started still in b. 45 reaches the 1st quaver of b. 53, which we give in the main text, since it most probably corresponds to the notation of [A2]. The slurring of A1 shows the independent phrase of the upper voice in b. 45-48 and then a two-bar section, in which the R.H. upper voice is no longer separated from the remaining voices of the accompaniment. It is also noteworthy that the 1st quaver in b. 53, which opens a new phrase, is not linked to the preceding crotchets. category imprint: Differences between sources |
in bar 36 in 
Major, Op. 64 No. 3, 
