mUltimate Chopin

Op. 63 No. 1, Mazurka in B major

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

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

b. 43

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

No markings in AI, FE1 (→GE)

 in FE2 (→EE)
..

Chopin added  while proofreading FE2 (→EE).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 53-58

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

No slurs in AI

6 slurs in FE (→GE,EE)

6 slurs in brackets suggested by editors
..

Six one-bar slurs in these bars probably replaced the longer slurs present in AI – see the notes on bars 49-56 and 57-60. However, while proofreading FE2 Chopin restored here longer slurs, almost of the same range as in AI. It makes us doubt whether it was supposed to be an addition to the already printed slurs or whether the composer actually wanted to return to the initial concept, and the fact that the shorter slurs remained unchanged resulted from the engraver not having implemented the more labour-consuming part of proofreading (removing an element was much more troublesome than adding an element, considering the then used print method). As we are uncertain as to Chopin's intention, in the main text we give short slurs in brackets, leaving the decision of whether to include them or not to the performer.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Inaccuracies in FE , Chopin's hesitations , Authentic corrections of FE

b. 57-60

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

Four-bar slur in AI & FE2 (→EE)

Two-bar slur in FE1 (→GE)
..

As in bars 53-56 (see the note on bars 49-56), Chopin completed and proofread in FE2 (→EE) the R.H. slurring, returning to the initial concept of a four-bar slur. This is the version we give in the main text.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 58-60

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

d in AI, FE2 (→EE) & GE

d in AI, FE2 (→EE) & GE

d in FE1

d after FE1
..

The version of FE1 is almost certainly a mistake by Chopin, which is proven by the compliant version of AI and FE2 (→EE), proofread by Chopin. The mistake was most probably caused by the fact that in [A] the notation with a 5-sharp key signature (as in AI) was replaced with the notation with a 3-sharp key signature. In the discussed four-bar section, kept in the key of C major, it was necessary to add sharps to d and a notes, which Chopin apparently did not do, since these are the accidentals that are missing in FE1 (see also the last note in the next bar).

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , Errors resulting from corrections , GE revisions , Omission of current key accidentals , Authentic corrections of FE