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b. 14
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composition: Op. 24 No. 1, Mazurka in G minor
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This bar opens a new line of text in A. Chopin did not finish the slur that in the previous bar (13) is evidently intended to be continued. Both a new slur, beginning on d2 in bar 14, and the analogy with bars 5-6 allow one to recreate easily the intended extent of the slur, which was done in GE (→FE→EE). category imprint: Graphic ambiguousness issues: Inaccurate slurs in A |
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b. 15
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composition: Op. 24 No. 1, Mazurka in G minor
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In A, Chopin changed the initial rhythm category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 16-18
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composition: Op. 24 No. 1, Mazurka in G minor
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Both L.H. slurs in those bars illustrate very well the phenomenon of very broadly written slurs in A: both the beginning of the slur in bar 16 and the end of the slur in bar 18 reach the rest, which does not make sense in the context. Whenever such notation occurs - just like here - in obvious contexts, it does not lead to misunderstanding, but in other instances the editions often misinterpreted such notation – cf. e.g. bars 21, 25 and 29. category imprint: Source & stylistic information issues: Inaccurate slurs in A |
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b. 16
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composition: Op. 24 No. 1, Mazurka in G minor
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In analogous bars 8 and 56 A has long accents. Still, we retain the short accent here due to a different further course of music that could influence the sign chosen by Chopin. On the other hand, one cannot entirely rule out the possibility of inaccurate notation of that detail in A; we take that option into account as well. suggesting a long accent as an alternative. category imprint: Interpretations within context issues: Long accents |
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b. 17
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composition: Op. 24 No. 1, Mazurka in G minor
category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Annotations in FES |
to two equal quavers.
