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Op. 50 No. 2, Mazurka in A♭ major

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Ornaments

b.

composition: Op. 50 No. 2, Mazurka in A♭ major

Arpeggio & appoggiatura in A1

Tied acciaccatura in FE (→EE)

Acciaccatura & arpeegio in GE

Our alternative suggestion
..

None of the first editions reproduced the arpeggio before the chord with grace note correctly. The version of FE (→EE) is most probably a distorted notation of A1: the vertical curved line marking the arpeggio was reproduced as a conventional one, which converted it into a tie of the grace note. In GE the wavy line of the arpeggio encompasses the L.H. e note, which is a mistake. In all editions, the grace note is slashed, contrary to A1, which is probably an inaccuracy or a routine revision. However, it does not influence the performance, since Chopin would often use slashed and non-slashed small quavers interchangeably. In the main text we give the undoubtedly authentic notation of A1; in turn, we suggest the reconstruction of the notation of [A2] as an alternative version on the assumption that GE1 reproduced all elements of the notation, except for the wavy line's range, correctly.

category imprint: Differences between sources

issues: Inaccuracies in GE , FE revisions

b. 9

composition: Op. 50 No. 2, Mazurka in A♭ major

No arpeggio sign in A1 (→FE→EE)

Arpeggio sign in GE
..

The arpeggio mark is one of the numerous additions introduced by Chopin probably still in [A2] (→GE): see the previous note. The same applies to b. 40 and 84.

category imprint: Differences between sources

b. 11-15

composition: Op. 50 No. 2, Mazurka in A♭ major

No ornaments in A1 (→FE→EE)

Mordents in GE
..

Chopin could have added the mordents in b. 11 and 15 already in [A2] or only just in the proofreading of GE1 (→GE2). The same applies to b. 46 and 50 and 86 and 90.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE

b. 23

composition: Op. 50 No. 2, Mazurka in A♭ major

in A1 (→FE→EE)

Grace notes in GE
..

In the main text we adopt the notation of the principal source, i.e. GE, undoubtedly repeated after [A2]. It is unclear what Chopin's motivation was when he changed the  mark to a double grace note in this particular place, hence both manners of notation are considered equal. The same applies to b. 54 and 98.

category imprint: Differences between sources; Corrections & alterations

b. 40

composition: Op. 50 No. 2, Mazurka in A♭ major

Arpeggio sign in A1 & GE

No sign in FE (→EE)
..

The arpeggio mark, written by Chopin probably in [A2] (→GE) in b. 9, is also present in b. 40 and 84, which are a repetition thereof. In turn, in A1 the arpeggio mark is featured exclusively in the discussed bar, in which Chopin wrote the L.H. part only.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in FE