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b. 8
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composition: WN 55, Waltz in F minor
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In AK, the first quaver in the R.H. is written separately. Such a way of notation was certainly aimed at highlighting the ending of the music phrase and the beginning of a new one - leading to the main theme of the waltz in a new key - parallel - in bar 9. category imprint: Interpretations within context; Differences between sources |
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b. 8
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composition: WN 55, Waltz in F minor
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In CC, there is no natural next to e category imprint: Differences between sources; Editorial revisions |
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b. 8
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composition: WN 55, Waltz in F minor
category imprint: Differences between sources |
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b. 8-10
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composition: Op. 24 No. 2, Mazurka in C major
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In bars 8 and 10 in A (→GE1→FE→EE), staccato signs over the crotchet on the 2nd beat are missing. Clear wedges in analogous bars 12, 44, 90, 94 and 96, and also evident staccato signs in bars 6 and 92, point to Chopin's probable oversight. In GE2 (→GE3), the staccato signs were added in both bars, in the form of dots. category imprint: Interpretations within context; Differences between sources |
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b. 8
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composition: Op. 24 No. 2, Mazurka in C major
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In A, the extent of the slur is not quite clear. The interpretation adopted in GE (→FE→EE) is possible, yet in our opinion a longer slur, reaching the crotchet on the 2nd beat of the bar, is much more likely. category imprint: Graphic ambiguousness issues: Inaccurate slurs in A |
1 - it is one of a few mistakes-oversights of the copyist in that source.
