b. 7-9
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composition: Op. 50 No. 1, Mazurka in G major
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To the main text we adopt the version of GE, consistently present also in analogous b. 31-33 and 63-65, which shows that the notation of [A2] was almost certainly like that. We can also see the continuation of the slur over the rest in b. 7 written by Chopin's hand in Afrag, while the fact that the slur was led to b. 9 is confirmed by the slur of A1 in b. 32-33 and possible Chopinesque proofreading of FE1 in b. 8-9 and FE2 in b. 64-65. The version of EE and FE2 is erroneous. See also b. 5-6. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Authentic corrections of FE , Uncertain slur continuation , Tenuto slurs |
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b. 7-8
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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Like in b. 3-4, in the main text we give the version with tied g1, coming probably from [AG] (→GE). category imprint: Differences between sources; Corrections & alterations |
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b. 7
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In the main text we add a cautionary before f1. The accidental was also added in EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 7
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composition: WN 37, Lento con gran espressione
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The significant difference between the slurs of CJ and CK suggests that one of them is probably inaccurate (or both). In the main text we adopt the slur of CJ, which is a natural continuation of the slur in b. 5-6. In our interpretation, the slur of CK encompasses the entire 2nd half of the bar. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 7
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composition: WN 37, Lento con gran espressione
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The tie of c3 must be an arbitrary decision of Kolberg or Szulc. category imprint: Differences between sources issues: Revisions in EL |