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b. 48
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composition: Op. 30, Mazurka in D♭ major
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In the main text we include the revision of GE, since an accidental oversight of a staccato dot in this bar seems almost certain, since it was already from bar 31 that Chopin started providing all bass notes held with pedal with dots – in FC or FE or in both (cf. bars 31-39, 49-53 and 55-56). As this rule naturally follows from the pianistic texture, the only exception in the form of the discussed bar is totally unjustified. category imprint: Differences between sources issues: GE revisions |
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b. 49-53
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composition: Op. 30, Mazurka in D♭ major
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In the main text we include the staccato dots in the L.H. part present in FE (→EE). There are no doubts that this kind of articulation, correlated with the pedalling, conveys Chopin's idea correctly, which cannot be said about the isolated dot in FC. category imprint: Differences between sources issues: Inaccuracies in FC |
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b. 50-55
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composition: Op. 30, Mazurka in D♭ major
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In this entire phrase, kept in the key of F minor, Chopin overlooked 5 naturals raising g
In EE accidentals were added in bars 53 and 55, while in GE all except in bar 53. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Errors of FC , Errors repeated in GE , Errors repeated in EE |
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b. 54-55
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composition: Op. 30, Mazurka in D♭ major
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In FE the dashes marking the range of cresc. reach only the end of the line of the text, as a result of which they are absent in bars 54-55. In the main text we give the undoubtedly correct markings of FC (→GE). category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 55
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composition: Op. 30, Mazurka in D♭ major
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The third beat in the L.H. part remained unfilled in FC. In GE a crotchet rest was inserted here; however, the FE (→EE) version shows that it was a g-b category imprint: Differences between sources issues: GE revisions , Errors of FC |