Issues : GE revisions
b. 58-59
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composition: Op. 24 No. 1, Mazurka in G minor
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In the main text, we give a single mark. In Chopin's times, dividing the dynamic hairpins at line break was not yet in systematic use - both Chopin and his editors sometimes reverted to the old notation in which two consecutive (or ) marks at line break could mean one longer dynamic change. category imprint: Interpretations within context; Differences between sources issues: GE revisions |
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b. 59
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composition: Op. 24 No. 1, Mazurka in G minor
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We suggest supplementing a slur over a pair of chords, after the slur found in analogous bars 3 and 51 in A. GE2 (→GE3) also had that sign supplemented (on the basis of the comparison with analogous bars) yet the distorted notation of GE was repeated there. Cf. note to bar 11. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 60
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composition: Op. 24 No. 1, Mazurka in G minor
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We supplement articulation marks for the left hand in line with the authentic markings in analogous bars 4, 12 and 52. These markings were already supplemented in GE2 (→GE3). category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 62
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composition: Op. 24 No. 1, Mazurka in G minor category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 64
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composition: Op. 24 No. 1, Mazurka in G minor
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In EE and GE2 (→GE3), the asterisk was added at the end of the Mazurka. Leaving the last mark without closing is a characteristic device for Chopin's notation – cf. endings of the Mazurka in A flat major no. 3 and B flat minor no. 4. category imprint: Differences between sources issues: EE revisions , GE revisions |