Slurs
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b. 61-66
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composition: Op. 63 No. 1, Mazurka in B major
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As in bars 53-56, the division of the initial slur of AI into 3 shorter ones, encompassing individual motifs, is an element of the change of the general concept of slurring of the middle section of the Mazurka. In the main text we give the later version of FE (→GE,EE). See also bars 64-66. category imprint: Differences between sources; Corrections & alterations |
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b. 64
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composition: Op. 63 No. 1, Mazurka in B major
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The version of AI is an element of an earlier concept of slurring, discussed in more details in the note on bars 35-36. The difference in the range of the first slur in the version of the editions most probably resulted from an inaccuracy by the engraver of GE. category imprint: Differences between sources; Corrections & alterations issues: GE revisions |
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b. 66-68
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composition: Op. 63 No. 1, Mazurka in B major
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In the main text we give the unequivocal FE slur (→GE,EE). As far as the slurring of AI is concerned, both the slur beginning in bar 67 and the one ending at the beginning of bar 66 could be inaccurate, since it is unlikely that Chopin would have wanted to leave bar 66 without a slur. We consider the following scenario to be likely – Chopin first wrote a slur in bars 67-68 (reaching bar 69), then, while drawing a slur under bar 61 with the intention of leading it to the end of bar 66 or the beginning of bar 67, he hesitated a bar before, having considered that it could have been better to link bar 66 with the next bars (as in the final version). In this situation, unfinished slurs would mean that the doubt remained unresolved in the stage of writing AI. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Chopin's hesitations |
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b. 68
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composition: Op. 63 No. 1, Mazurka in B major
category imprint: Graphic ambiguousness; Differences between sources issues: Uncertain slur continuation |
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b. 69-70
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composition: Op. 63 No. 1, Mazurka in B major
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Chopin moved the beginning of the slur while writing [A] or while adding a slur in the proofreading of FE1, which could be indicated by its absence in GE (unless it is an oversight by the engraver of GE1). However, the end point of the slur poses a challenge. On the basis of an analysis covering all places based on similar rhythmic motifs (bars 1-16 and 79-86), both in AI and FE, in the main text we suggest a slur encompassing the c The R.H. slurring in bars 69, 71 and 73 differs in the sources. It is part of a greater issue involving the entire Mazurka, which we discuss in the note in bar 3. When adopting a holistic approach, in FE the slurring of the repeating theme rhythmic scheme (four quavers in uneven bars linked with a slur – or not – to the first quaver in even bars) turns out inconsistent and at times also inaccurate. However, longer slurs prevail, hence in this place we standardise and extend the slur to the beginning of bar 70. In GE it is the regular absence of R.H. slurs in bars 69, 71 and 73 that is surprising, as is the consistency with which this issue was not corrected in subsequent editions. One could assume a purposeful deletion, but this would be difficult to explain. It could have been a mistake, although it is also possible that the slurring of this fragment was incomplete in the proof copy of FE serving as the basis for GE. Admittedly, these slurs can already be seen in AI, yet the inconsistencies of FE described above are an argument for the hypothesis that Chopin hesitated, which resulted in changes (performed several times). The AI slur encompasses the entire 1st beat of bar 70; however, there is no rest. Nevertheless, one can assume that a slur in a version with a rest would be ending on the 1st quaver in the bar. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , Errors in GE |
minim in 
1-e
