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Op. 50 No. 3, Mazurka in C♯ minor

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Slurs

b. 128-131

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

2 slurs in AF, contextual interpretation

Continuous slur in FE (→EE)

Slur in GE
..

In AF b. 129 opens a new line, and the slur that starts at the beginning of this bar does not match the slur at the end of b. 128, which suggests continuation. The continuous slur in FE is one of possible interpretations, yet a comparison with analogous b. 37 shows that Chopin probably meant the slurs to coincide, which we give as the main text. The fact that the slur beginning in b. 129 is absent in GE is either an earlier version written in [AG] or a mistake of the engraver.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , Uncertain slur continuation

b. 131-132

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

Slur in AF (→FE→EE)

No slur in GE
..

Just like in the previous two bars, the missing R.H. bottom voice slur is either the original notation of [AG] or an oversight of the engraver of GE1.

category imprint: Differences between sources

b. 131-132

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

Slur in bars 132-133 in AF

Longer slur in bars 132-133 in FE

Slur in bars 131-133 in GE

Slur in bar 132 in EE

Our alternative suggestion
..

Just like in b. 39-42, in the main text we give the slur of AF, which emphasises the a1-b1 step under b. 132-133 as the ending of the tenor voice. This slur – not entirely clear – was initially interpreted in FE as a slur combining the d1-a1 crotchets. This version is preserved in EE, whereas in FE Chopin prolonged this erroneous slur to a version tantamount to the longer slur of GE. According to us, this ad hoc correction does not have to mean that the composer definitely abandoned the slur of AF; in turn, it suggests that Chopin, to the very end, did not consider any of them to be final. The slur of GE, indicating the actual articulation of the L.H. part, may be then considered an equal variant. Taking into account Chopin's hesitation, as an alternative version we also suggest combining the relevant indications of both versions into one slur.

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

issues: Inaccuracies in FE , Inaccurate slurs in A , Authentic corrections of FE

b. 133-138

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

Slurs in AF, literal reading

Slurs in AF, contextual interpretation

Slurs in FE

Slurs in GE

Slurs in EE
..

Two or three slurs that originate from the previous bar are continued differently due to the different placement of the slurs concerning the inner voices as well as due to the change of the function of one of the slurs of AF – the slur that began in b. 131 as an alto voice slur and led between this voice and the higher placed soprano voice minims (in our transcription placed under the alto voice) already concerns the entire R.H. part from the 2nd quaver in b. 133.

category imprint: Differences between sources

issues: Inaccurate slurs in A , Authentic corrections of FE

b. 134-135

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

..

In FE (→EE) the slur over the L.H. part starts already from the 1st crotchet in b. 134. It must be a result of misinterpretation of the notation of AF, in which the slur over the three chords encompasses them with plenty of margin. Moreover, in FE this slur reaches only the 3rd crotchet in b. 134, in spite of the fact that its ending is present in b. 135 – on a new line.
This inaccuracy was repeated in EE. See the previous note concerning the 1st beat of the bar.  

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Uncertain slur continuation , Errors repeated in EE