b. 12
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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It is not clear whether Chopin intended the slur in A to apply only to the upper notes of the octaves or to reach further. In GE (→FE→EE), that second option was adopted, and the slur extended to the last quaver. Both versions may be considered as matching the notation of A. The slur for the upper notes only emphasizes the (hidden) two-part aspect , while the whole-bar slur link the end of the previous phrase with the transition to the next one. category imprint: Graphic ambiguousness issues: Inaccurate slurs in A |
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b. 12
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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The accent in A in this context should be considered a long one. The lack of any accent in GE1 (→FE→EE) must be a mistake. The (short) accent was supplemented in GE2 (→GE3). category imprint: Differences between sources issues: Long accents |
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b. 12
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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Compared with the notation of A, in GE (→FE→EE) the hairpins were lengthened by one quaver and made to reach the last note of the bar. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 13
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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The version of FE (→EE1→EE2), in which the first one of the basic motifs of the Mazurka was distorted, is certainly wrong. The corrections in EE3 were most probably made on the basis of GE1. category imprint: Differences between sources issues: Errors in FE , Errors in GE |
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b. 13-14
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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In A, the phrase is covered with a single slur (up to the 2nd beat of bar 14); this version is correctly reproduced in GE2 (→GE3). Meanwhile, in GE1 the notation is ambiguous, as the slur in the line-ending bar 13 reaches the last quaver only. This was the reason why in FE (→EE) the motif in bar 14 was embraced with a separate slur. category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in GE , Corrections in A |