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b. 108
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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There is no numeral 3 over the triplet in A (→GE1→FE). Its absence, although not causing any misunderstanding, is nonetheless a notation error. The numeral was added in EE and GE2 (→GE3). category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 108
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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The dotted quaver at the beginning of the bar clearly has a long accent in A. The corresponding mark in GE1 looks like an ordinary short accent, yet it reaches almost to the semiquaver due to the awkward horizontal planning of the notes that form the dotted rhythm. This was probably the reason why the accent from GE1 was interpreted in FE as a long one. EE and GE2 (→GE3) all use accents that are definitely short ones. Cf. bar 100, as well as 46-48. category imprint: Differences between sources issues: Long accents , EE inaccuracies |
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b. 108
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composition: Op. 24 No. 4, Mazurka in B♭ minor category imprint: Differences between sources issues: Long accents , GE revisions , EE inaccuracies |
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b. 108-110
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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The slurring in A is unclear due to discordant notation of bar 108, the last one on the page, and bar 109 that begins a new page. GE (→FE→EE) have a single continuous slur in those two bars. In FE, the slur in bar 109, the last bar of the line, ends erroneously on the last quaver (its continuation in bar 110 is written correctly). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A |
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b. 108-116
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composition: Op. 42, Waltz in A♭ major
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Assuming a possible authenticity of the variants of EE in analogous bars 44, 52, 76 and 84, we should admit its use also in bars 108 and 116. category imprint: Editorial revisions |
