Articulation, Accents, Hairpins
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b. 6
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composition: Op. 24 No. 2, Mazurka in C major
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The staccato mark from A was rendered in GE (→FE>EE) as a dot. In the editors' opinion, interpreting that mark as a wedge is much more justified, the arguments being its shape (despite its small size it is a line clearly standing out from among the surrounding dots) and the presence of unmistakable wedges in the analogous bars 12, 44, 90, 94 and 96. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Wedges |
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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. 12
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composition: Op. 24 No. 2, Mazurka in C major
category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 14
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composition: Op. 24 No. 2, Mazurka in C major
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The sign that was clearly a wedge in A was reproduced as a dot in GE (→FE→EE). See the characteristics of GE1. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 15-19
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composition: Op. 24 No. 2, Mazurka in C major
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In A, the accents on the 3rd beat in bars 15 and 19 are clearly longer than the remaining accents in bars 13-20. In GE (→FE→EE) that difference was considered insignificant. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
