mUltimate Chopin

Op. 63 No. 2, Mazurka in F minor

Text Compare Notes Sources Description

Issues : GE revisions

b. 22

composition: Op. 63 No. 2, Mazurka in F minor

 in As & GE3

No mark in FE (→GE1,GE2,→EEW)

Our variant suggestion
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The missing mordent in FE (→EEW,GE1→GE2) is most probably an oversight, which is indicated by the presence of  in As and by a comparison with analogous bars 18, 26 and 30. The mordent was added in GE3, most probably to standardise the version of these 4 bars. In the main text we suggest it in a variant form.

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , GE revisions

b. 25

composition: Op. 63 No. 2, Mazurka in F minor

Longer slur in FE (→GE1,EEW)

Shorter slur in GE2 (→GE3)
..

The shorter slur in GE2 (→GE3) could have resulted from a misinterpretation of the GE1 slur – it could have been regarded as an inaccurate slur under the quaver group. Not only does the slur indicate legato articulation, but it also separates the entire 5-note tenor voice motif, whose range is unobvious in the simplified Chopinesque notation.

category imprint: Differences between sources

issues: GE revisions

b. 30-31

composition: Op. 63 No. 2, Mazurka in F minor

c1 repeated in As & FE (→EEW,GE1→GE2)

c1 tied in GE3
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The tie to c1 was added in GE3 probably by analogy with bars 22-23. The Chopinesque fingering in FES confirms that c1 should be played in bar 31.

category imprint: Differences between sources

issues: GE revisions

b. 41-49

composition: Op. 63 No. 2, Mazurka in F minor

Acciaccaturas in As & FE (→EEW)

Appoggiaturas in GE
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As in bar 9, due to revision, the short grace notes in bars 41 and 49 were changed to long ones in GE.

category imprint: Differences between sources

issues: GE revisions

b. 45-46

composition: Op. 63 No. 2, Mazurka in F minor

Slur from quaver in b. 45 in FE, contextual interpretation

Slur from f2 in b. 46 in GE & EEW
..

In FE, bar 46 is the first in a new line of text, and the phrase mark begins there simultaneously with the continuation of the tie to f2. This suggests that this slur is also a continuation of a slur from the previous bar, but at the end of bar 45 there is only the beginning of the tie. Both in GE and EEW the slur begins from the first quaver in bar 46, but it is possible that Chopin wanted to lead the slur from the moment the note is struck, i.e. from the f2 quaver in bar 45. We consider this interpretation to be text of FE and we accept it in the main text.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions , Uncertain slur continuation