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Op. 50 No. 3, Mazurka in C♯ minor

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Slurs

b. 119-121

composition: Op. 50 No. 3, Mazurka in C♯ minor

2 slurs in AF & EE

2 slurs in FE, literal reading

Continuous slur in GE
..

The fact that the slur is not continued on a new line (b. 120) is a patent mistake of FE, revised in EE. The continuous slur of GE is also erroneous, although, while looking at the slurs of AF, one can easily imagine that if the slur of [AG] in b. 120 were even slightly longer, the engraver of GE1 could have interpreted such overlapping slurs in this manner.

category imprint: Differences between sources

issues: Errors in FE , Uncertain slur continuation

b. 122-123

composition: Op. 50 No. 3, Mazurka in C♯ minor

Slur in AF (→FE→EE)

No slur in GE
..

The missing b1-c2 slur in GE is probably Chopin's inadvertence at the time of performing the last retouches of [AG]. 

category imprint: Differences between sources; Corrections & alterations

issues: Omitted correction of an analogous place

b. 123-124

composition: Op. 50 No. 3, Mazurka in C♯ minor

Slur in AF (→FE→EE)

No slur in GE
..

The missing f1-g1 slur in GE seems to be an oversight. However, it is likely that, contrary to [AG], it was moved over the notes, which converted it into a tie of d2 – see the note above.

category imprint: Differences between sources

b. 124-125

composition: Op. 50 No. 3, Mazurka in C♯ minor

Continuous slur in Af

2 slurs in GE, literal reading

Contextual interpretation of GE, our alternative suggestion
..

In the main text we give the continuous slur of AF, reproduced in FE and EE with minor inaccuracies related to the transition to a new line, starting from b. 125 – in EE the slur in b. 124 was led to the g crotchet only, whereas in FE the continuation of the slur on a new line is placed under the stave. The separated slurs of GE may be authentic – it seems that Chopin was gradually completing the slurring of the L.H. part while writing [AG], and it is AF that presents the final result of this process (in GE2 the slur ending in b. 124 was reproduced inaccurately, as a result of which it seems that its ending falls on a). The slur that begins in b. 125, perhaps added at the stage of proofreading of GE1, was placed under the stave – probably to avoid layout complications in b. 128. Therefore, as an alternative solution we suggest a slur of the same range, yet led over the tenor voice, to which it refers.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies , Authentic corrections of GE

b. 127-129

composition: Op. 50 No. 3, Mazurka in C♯ minor

Slur in AF (→FE)

Slur in EE

3 slurs in GE

2 slurs in GE, contextual interpretation

2 slurs suggested by the editors
..

The notation of the tenor voice slurs eventually found its shape in AF. Probably due to layout complications in b. 128, the slurring of the remaining sources is incomplete or inaccurate:

  • in FE the slur of AF was placed under the stave, probably to facilitate the drawing of the curve (we reproduce this notation in the graphic transcription – the version 'transcription');
  • in b. 127 EE continue the slur over the tenor voice, yet in b. 128 it is also the alto voice that is encompassed with it;
  • in GE, there are two slurs in the tenor voice – the continuation of the slur from the previous bars, led under the stave, and the original d-G slur in b. 128-129. It is probably a result of a later added phrase mark, perhaps only just at the stage of proofreading of GE1. The original slur, encompassing the last two notes c1-b in b. 128-129, is also preserved in the alto voice.

In the main text we give the slur of AF, completed with a slur for the alto voice, written in this autograph in analogous b. 35-37.

category imprint: Differences between sources

issues: Inaccuracies in FE , EE inaccuracies