mUltimate Chopin

Op. 63 No. 1, Mazurka in B major

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b. 35-36

composition: Op. 63 No. 1, Mazurka in B major

Two-bar slur in AI

2 slurs in FE (→GE,EE)
..

The longer AI slur is an element of a different slurring concept (from the one in the published version) of this entire section (bars 53-68). In the main text we honour Chopin's later decision, contained in FE (→GE,EE).

category imprint: Differences between sources; Corrections & alterations

b. 35-48

composition: Op. 63 No. 1, Mazurka in B major

No markings in AI

Pedalling in FE (→GE,EE)
..

category imprint: Differences between sources; Corrections & alterations

b. 36-46

composition: Op. 63 No. 1, Mazurka in B major

d1 & d2 after AI

d1 & d2 in FE (→GE,EE)
..

Although the notation of bars 36 and 46 does not differ between AI and FE (→GE,EE), the difference in key signature means that the 2nd quaver is a d1(2) in AI, but a d1(2) in the editions. Both versions are written correctly:

  • in AI, in both bars one can see deleted accidentals to these notes, which proves that Chopin proofread the notation there;
  • the notation of FE1 does not contain any mistakes or inaccuracies in this section (bars 33-52), and the convenience resulting from the prevailing A major key (with d notes) was most probably the main reason behind the change of key signature.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 39-42

composition: Op. 63 No. 1, Mazurka in B major

Continuous slur in FE1

4 slurs in FE (→GE,EE)
..

The four-bar slur of AI is an element of an earlier slurring concept of this entire section (bars 53-68), different from the one in FE (→GE,EE). To the main text we adopt the latter.

category imprint: Differences between sources; Corrections & alterations

b. 40

composition: Op. 63 No. 1, Mazurka in B major

No mark in AI

 on the 1st measure of the bar in FE1 (→GE)

 on the 2nd measure of the bar in FE2 (→EE)
..

Chopin most probably added  in bars 40 and 50 only just in [A], after AI had already been prepared. It is uncertain if the shift of both marks from the 1st to the 2nd beat of the bar performed in the stage of proofreading FE2 (→EE) was a correction of a misinterpretation of the [A] notation or a change of concept. The fact that Chopin bothered correcting such a small difference suggests that it could have been a more significant change, and not only keeping  on the 1st beat of bars 40 and 50.  at the beginning of the bars almost certainly indicates 3-bar segments performed forte (bars 40-42 and 50-52). On the other hand, the same marks placed directly before chords could be interpreted as, e.g. referring only to the pair of chords in each of these 6 bars.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE