Slurs
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b. 53-54
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composition: Op. 50 No. 1, Mazurka in G major
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The missing slur in EE is most probably a part of a major mistake encompassing the oversight of the R.H. slurs in b. 49-56 (one and a half line at the beginning of the 3rd page of the Mazurka). category imprint: Differences between sources issues: Errors in EE |
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b. 54
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composition: Op. 50 No. 1, Mazurka in G major
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The missing L.H. slur in FE must be an oversight of the engraver. category imprint: Differences between sources issues: Errors in FE |
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b. 55-57
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composition: Op. 50 No. 1, Mazurka in G major
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Except for the versions of GE1, GE2 and EE, which are clearly erroneous and which overlooked some of the curved lines, there are most probably three authentic versions of slurring for these bars: A1, [A2] and FE, proofread by Chopin. We do not know [A2] directly, yet one may closely reconstruct it on the basis of GE1 and the remaining authentic versions: since there are no notes that would not be encompassed with a slur in A1 and FE, it was most probably also the case of [A2], which means that the continuation of the slur from b. 53-54 overlooked in GE1 led to the first crotchet in b. 57. This version may be considered an equal variant with respect to the main text, which we hold for the version of FE, the latest of the three authentic ones, introduced probably instead of the version of A1 (perhaps incomplete, which may be indicated by the text of EE). category imprint: Differences between sources; Editorial revisions issues: Errors in GE , Authentic corrections of FE |
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b. 55-56
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composition: Op. 50 No. 1, Mazurka in G major
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We include the slur of GE in the main text, although it could be questioned whether the notation of [A2] was reproduced correctly: in A1 the category imprint: Differences between sources |
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b. 58-59
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composition: Op. 50 No. 1, Mazurka in G major
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Just like in the previous, analogous situations – b. 6-7 and 30-31 – in the main text we give the continuous slur of GE, almost certainly reproducing the notation of [A2]. The variants of the version with separated slurs stem from the imprecise notation of A1, in which the slur ending in b. 62 (which is a repetition of b. 6) may be interpreted as reaching the minim, the end of the bar or the beginning of b. 63. category imprint: Graphic ambiguousness; Differences between sources |
1 in bar 57 in 
hairpin emphasises the 2nd crotchet of the bar as the beginning of the move of the melodic tenor voice, hence a slur running from that very note would be more suitable.
