b. 49-53
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composition: Op. 50 No. 1, Mazurka in G major
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In GE the slur started still in b. 45 reaches the 1st quaver of b. 53, which we give in the main text, since it most probably corresponds to the notation of [A2]. The slurring of A1 shows the independent phrase of the upper voice in b. 45-48 and then a two-bar section, in which the R.H. upper voice is no longer separated from the remaining voices of the accompaniment. It is also noteworthy that the 1st quaver in b. 53, which opens a new phrase, is not linked to the preceding crotchets. category imprint: Differences between sources |
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b. 53-57
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composition: Op. 50 No. 1, Mazurka in G major
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In the main text we include the mark in b. 53 and the mark in b. 57, which most probably come from [A2]. category imprint: Differences between sources; Corrections & alterations |
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b. 53-54
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composition: Op. 50 No. 1, Mazurka in G major
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In the main text we give the hairpin after GE. In A1 the mark begins a beat earlier, yet there is no at the beginning of that bar in that autograph. The absence of the mark in FE (→EE) is probably an oversight of the engraver. category imprint: Differences between sources issues: Scope of dynamic hairpins |
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b. 53
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composition: Op. 50 No. 1, Mazurka in G major
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category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE |
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b. 53-54
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composition: Op. 50 No. 1, Mazurka in G major
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The missing slur in EE is most probably a part of a major mistake encompassing the oversight of the R.H. slurs in b. 49-56 (one and a half line at the beginning of the 3rd page of the Mazurka). category imprint: Differences between sources issues: Errors in EE |