



b. 61-62
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composition: Op. 30, Mazurka in D♭ major
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In the main text we add cautionary flats to d category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 62
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composition: Op. 30, Mazurka in D♭ major
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The easiest explanation for the missing staccato dot in FE (→EE) would be an oversight by the engraver – in the entire Mazurka a staccato mark on the 1st quaver in the bar appears in the vast majority of similar figures, constituting an element defining the characteristic dance gesture of the Mazurka. category imprint: Differences between sources issues: Errors in FE |
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b. 63
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composition: Op. 30, Mazurka in D♭ major
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In the main text we suggest adding a staccato dot at the beginning of the bar. In the three remaining places the quaver sixths, followed by a semiquaver rest, are provided with dots in at least one authentic source (FC and FE), which allows us to consider the absence of a dot in the discussed bar to be an oversight. category imprint: Editorial revisions |
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b. 68-69
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composition: Op. 30, Mazurka in D♭ major
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The missing tie to f1 in FE (→EE) may be simply an oversight by the engraver. However, one cannot rule out that this version could be authentic or even later than the version with a tie, if Chopin removed it while proofreading FE. The reason for a possible correction could be a more exact rhythmic and melodic inner analogy between the phrases in bars 57-64 and 65-72 – in the former, both four-bar sections begin from tied sixths (bars 57 and 61), whereas in the latter – from a played note in the bottom voice (bars 65 and 69). category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE |
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b. 69-70
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composition: Op. 30, Mazurka in D♭ major
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As in bars 61-62, in the main text we add cautionary flats to d category imprint: Differences between sources; Editorial revisions issues: GE revisions |