Articulation, Accents, Hairpins
b. 10-12
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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We reproduce the short hairpins in b. 10 and 12, whose nature is clearly the one of long accents, after AF (in FE and EE they were moved under the R.H. part). The absence of these marks in GE is probably an oversight of Chopin: in analogous b. 102-104 it is precisely GE that is the only source containing those marks. category imprint: Differences between sources issues: Placement of markings , FE revisions |
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b. 16
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composition: Op. 50 No. 3, Mazurka in C♯ minor
category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections of AI |
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b. 17
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The mark, although reaching the end of the bar in AF (→FE), is certainly to be interpreted as a long accent. It is proven by comparison with the marks in other sources, i.e. the long accent in AI and the short one in GE, and with the analogous places in this autograph. The absence of the mark in EE seems to be a mistake of the edition's engraver. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in EE |
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b. 17-23
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In the majority of the sources it is only some of the staccato dots that are present at the beginning of b. 17, 19, 21 and 23. All four dots are written – paradoxically – only in AI. This is the version we give in the main text, since nothing indicates that it could have been something other than mistakes and inaccuracies of the engravers or of Chopin himself that contributed to the creation of the other versions. It is particularly the missing mark in AF in b. 23 that could have been provoked by corrections to the layout in b. 21-23 – from the 2nd beat of b. 21 on, Chopin moved all the a notes from the bottom to the top stave (in GE the note in b. 23 is on the bottom stave and is provided with a dot). Staccato marks in all four places are present in AF in analogous b. 109-115. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Errors in FE , Corrections in A , Deletions in A , Inaccuracies in A |
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b. 18-22
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The notation of the autographs does not explicitly reveal which accents were meant by Chopin in b. 18 and 22. According to us, in spite of them being similar – particularly in AF – to long accents, the marks are rather to be interpreted as short due to the rhythmic analogy with b. 20 and 24, which undoubtedly feature short accents. In b. 22 in AF one can see a crossed-out short accent over the chord on the 3rd beat of the bar. Both accents in AI are also placed over the chords, which, according to us, does not influence the performance in this context. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Long accents , Inaccuracies in FE , Corrections in A , Deletions in A |