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b. 55-56
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composition: Op. 50 No. 1, Mazurka in G major
..
We include the slur of GE in the main text, although it could be questioned whether the notation of [A2] was reproduced correctly: in A1 the category imprint: Differences between sources |
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b. 55
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composition: Op. 50 No. 1, Mazurka in G major
..
In the main text we include the category imprint: Differences between sources; Editorial revisions issues: EE revisions , Errors in FE , Inaccuracies in FE , Scope of dynamic hairpins |
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b. 56
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composition: Op. 50 No. 1, Mazurka in G major
..
According to us, the mark in A1, although it could be considered a long accent (as it was interpreted in FE1), could be a diminuendo, hence we leave it with its actual length. In the main text we give the mark in brackets, since it is absent in GE, from which category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Long accents , Inaccuracies in FE , EE inaccuracies |
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b. 57
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composition: Op. 50 No. 1, Mazurka in G major
category imprint: Differences between sources issues: Errors in GE |
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b. 58-72
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composition: Op. 50 No. 1, Mazurka in G major
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In A1 these bars are marked in an abridged manner with empty bars, numbered from 1 to 15, which requires b. 2-16 to be repeated. category imprint: Source & stylistic information issues: Abbreviated notation of A |
hairpin emphasises the 2nd crotchet of the bar as the beginning of the move of the melodic tenor voice, hence a slur running from that very note would be more suitable.
in the next bar comes; moreover, it is also uncertain whether Chopin would have considered it compliant with the dynamic markings of 
