Issues : Errors in GE
b. 21-25
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composition: Op. 30 No. 4, Mazurka in C# minor
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The F crotchets at the beginning of bars 21, 23, 25 and 27 are provided with wedges in FC and with dots in FE (→EE). As the second time (bars 117-123) both sources are provided with dots, to the main text we adopt this kind of markings. In GE the wedges of FC were reproduced as dots; moreover, in GE1 the mark in bar 21 was overlooked, supplemented in GE2. category imprint: Differences between sources issues: Inaccuracies in GE , Errors in GE , GE revisions , Wedges |
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b. 22-24
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composition: Op. 30 No. 4, Mazurka in C# minor
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In bars 22 and 24 the L.H. sets of markings – consisting of a staccato dot and a slur – could have been added by Chopin to [A] after FE had already been engraved. It is less likely that they could have been added by Chopin to FC, since they are not characteristic of Chopin's additions. category imprint: Differences between sources; Corrections & alterations issues: Errors in GE , Authentic corrections of FC |
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b. 63
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composition: Op. 30 No. 4, Mazurka in C# minor
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We justify the long accents suggested in the main text by inaccuracies in the reproduction of such accents in other pieces by Chopin both by Fontana (cf., e.g. the Scherzo in B minor, Op. 31, bars 42-43) and by FE. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in GE , GE revisions |
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b. 65
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composition: Op. 30 No. 4, Mazurka in C# minor
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category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 101
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composition: Op. 30 No. 4, Mazurka in C# minor
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was added to FC by Chopin. At the same time, it can be seen that he probably initially started writing , which he then turned to 'f' from . The result was a little bit clumsy, which is a possible reason why this indication was omitted by GE1 (it was added in GE2). category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Errors in GE |