Issues : Inaccuracies in GE
b. 4-5
|
composition: Op. 28 No. 21, Prelude in B♭ major
..
In the main text we give the slur of A (→FE→EE). The slur of FC starts a quaver earlier, whereas GE also moved its ending, which made it resemble the previous slurs, thus consolidating a distorted image of articulation of these figures – see the notes in b. 1-2 and 2-4. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FC |
||||||||
b. 5
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
The accent over a1 is doubtless a long one in A; this is testified by the change made in GE2 (probably after a repeated analysis of A). The sign in FE is not quite clear, yet it resembles a long accent more than a short one. In spite of that, EE has a short accent over the note in question. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
||||||||
b. 5-6
|
composition: Op. 43, Tarantella
..
No slur in GE1 (→GE2→GE3) over the transition of bars 6-7 can most probably be recognised as the error of the copyist or engraver. category imprint: Differences between sources issues: Inaccuracies in GE |
||||||||
b. 5
|
composition: Op. 24 No. 4, Mazurka in B♭ minor
..
A long accent at the beginning of the bar is very clear in A, having a characteristic shape and a typical size. Nevertheless, a short accent was printed in GE (→FE→EE). category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
||||||||
b. 5-17
|
composition: Op. 24 No. 4, Mazurka in B♭ minor
..
In bars 5, 7, 9 and 13, 15 & 17 in GE1 (→FE→EE) the marks were placed under the 3rd crotchet. This contradicts the notation of A, in which those asterisks were placed earlier, more or less in the middle of the bar. In GE2 (→GE3) the marks were moved even further towards the end of the bar. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |