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Issues : Errors in FE
b. 8-9
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composition: Op. 50 No. 1, Mazurka in G major
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It seems that Chopin abandoned the tie of c1 – in analogous b. 32-33 the tie is absent in all the sources, while in GE it is absent in all three analogous places (b. 8-9, 32-33 and 64-65). The absence of the tie in Afrag can be explained twofold (unless it is simply an oversight):
In FE1 (→EE) the tie was reproduced erroneously in b. 9 – such mirror images of marks can often be found in Chopin's pieces, e.g. in the Concerto in F Minor, Op. 21, 3rd mov., b. 172-173. The erroneous tie was removed in FE2; however, the correct one was not added – it may be seen as Chopin's proofreading and another argument for abandoning the tie of that note (the issue of presence of the c1 note in FE2 at the beginning of b. 9 – see the next note). category imprint: Differences between sources issues: Errors in FE , Chopin's hesitations , Authentic corrections of FE , Errors repeated in EE |
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b. 8
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composition: Op. 50 No. 2, Mazurka in A♭ major
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The missing tie of g1 in FE (→EE) is most probably an oversight, perhaps provoked by the notation of A1, in which the g1-b category imprint: Differences between sources |
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b. 8-9
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The absence of a separate slur for the bass voice is most probably an oversight of the engraver of FE (→EE). The slur (as well as the staccato dot over G category imprint: Differences between sources issues: Errors in FE |
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b. 8
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composition: Op. 28 No. 8, Prelude in F♯ minor
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In contrast with A, in FE (→EE) the last L.H. figure was written in the treble clef, thanks to which it was not necessary to repeat the flats next to the 2nd and 3rd semiquavers. However, FE1 misinterpreted the category imprint: Interpretations within context; Differences between sources issues: Errors in FE , FE revisions |
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b. 8
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composition: Op. 44, Polonaise in F♯ minor
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In FE1 the last two R.H. dyads are c category imprint: Differences between sources issues: EE revisions , Errors in FE , Terzverschreibung error , FE revisions |