mUltimate Chopin

Op. 50 No. 1, Mazurka in G major

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Articulation, Accents, Hairpins
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Articulation, Accents, Hairpins

b. 81-83

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

5 long accents in A1

5 short accents in FE

3 long, 2 short accents in GE1

2 long, 3 short accents in GE2

3 short accents in EE
..

The long accents of A1 are most probably an earlier version and may be considered a variant. The short accents of FE could also have been accepted by Chopin, who added two of them – in b. 81-82 – probably in the last stage of proofreading, since they are absent in EE. In the main text we give differentiated accents after GE2, which fittingly systematised the notation of GE1, which is slightly chaotic, yet most probably substantially compliant with [A2]. Moreover, we suggest an alternative interpretation of the notation of GE1, consistent with the literal interpretation of A1 in b. 73-75. 

category imprint: Differences between sources

issues: Long accents , GE revisions , Authentic corrections of FE

b. 84

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

Inverted long accent in A1, probably interpretation

Long accent in FE

in GE

No mark in EE
..

The mark of A1, with arms of different length, may be interpreted as a reversed long accent or a short  hairpin, which would correspond to the version of GE. According to us, the former is more likely; however, in the main text we adopt a non-reversed long accent, which may be a result of Chopinesque proofreading of FE and which is compliant with the unquestionable marking in analogous b. 76.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Long accents , EE revisions , Sign reversal , Authentic corrections of FE

b. 85

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

Staccato dot in A1 & GE

No mark in FE (→EE)
..

The missing staccato dot in FE (→EE) may be a result of its placement in A1: the mark is very distinct yet placed quite high above the stave and inaccurately over the 1st quaver.

category imprint: Differences between sources

issues: Errors in FE

b. 85

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

Staccato dot in A1 (→FE→EE)

No mark in GE
..

The missing staccato dot over the bass D is probably an oversight of Chopin in [A2] or of the engraver of GE. Assuming that the c1 semiquaver is performed with the L.H. (in accordance with the notation), any other articulation than staccato is practically out of the question.

category imprint: Differences between sources

b. 89-93

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

No marks in A1 (→FE→EE)

Staccato dots in GE1

Staccato dot in bar 93 in GE2
..

In the main text we include the staccato dot present in GE1 at the beginning of b. 89 and 93. Such an articulation – a dot and a slur – refers to the original version of this motif in b. 1 and analog. The absence of the dot in b. 89 must be an oversight of the engraver of GE2.

category imprint: Differences between sources

issues: Errors in GE