mUltimate Chopin

Op. 50 No. 1, Mazurka in G major

Text Compare Notes Sources Description

Issues : EE inaccuracies

b. 12-13

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

No sign in Afrag

 in A1 (literal reading→FE1)

 in A1, contextual interpretation

in GE & EE
..

According to us, the  hairpin written in A1 is to be interpreted as ending before the  indication in b. 13. It is most likely that Chopin first wrote the top arm (perhaps before entering ) and then indicated the end of the mark with the ending of the bottom arm. Such an interpretation is confirmed by the mark of A1 in b. 36 and the notation of GE based on [A2] (in GE2 the mark was shortened with respect to GE1, which does not influence its meaning). In FE the mark was interpreted according to the length of the top arm; moreover, FE2 reproduced it inaccurately. It remains unclear how come that the mark was shortened in EE – perhaps by analogy with b. 36. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , Corrections in A , EE inaccuracies , Hairpins denoting continuation , Inaccuracies in A

b. 56

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

in A1

Long accent in FE1

No sign in GE

Short accent in EE & FE2

Our variant suggestion
..

According to us, the mark in A1, although it could be considered a long accent (as it was interpreted in FE1), could be a diminuendo, hence we leave it with its actual length. In the main text we give the mark in brackets, since it is absent in GE, from which  in the next bar comes; moreover, it is also uncertain whether Chopin would have considered it compliant with the dynamic markings of GE.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Long accents , Inaccuracies in FE , EE inaccuracies