



b. 6
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composition: Op. 24 No. 2, Mazurka in C major
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The staccato mark from A was rendered in GE (→FE>EE) as a dot. In the editors' opinion, interpreting that mark as a wedge is much more justified, the arguments being its shape (despite its small size it is a line clearly standing out from among the surrounding dots) and the presence of unmistakable wedges in the analogous bars 12, 44, 90, 94 and 96. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 6-14
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composition: Op. 24 No. 1, Mazurka in G minor
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We add staccato dots under bass notes in bars 6 and 14. Despite that and several other omissions in that respect, Chopin's intention to apply that articulation for all bass notes in analogous texture is beyond doubt. category imprint: Editorial revisions |
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b. 6-7
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composition: Op. 24 No. 1, Mazurka in G minor
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In A, the slur begun in bar 6 (the last in the line of text) has no continuation, which makes it impossible to figure out Chopin's exact intention for slurring of that phrase. The solution adopted in GE (→FE→EE) seems the most appropriate one (cf. analogous bars 54-55). category imprint: Graphic ambiguousness |
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b. 6
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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Due to the graphic layout, we add dashes linking poco a poco with the cresc. in the next line. category imprint: Editorial revisions |
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b. 6-8
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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In FE (→EE) the upper voice minims at the beginning of bars 6 and 8 are furnished with dots extending their rhythmic values. This contradicts the notation of A (→GE). The error could have resulted from reading the staccato dot on the 2bnd beat as the extending dot for the minim. category imprint: Differences between sources issues: Errors in FE |