b. 67
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composition: Op. 50 No. 1, Mazurka in G major
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Just like in the previous, analogous places, in the main text we give the slur of GE1, based on [A2]. In GE2 this bar opens a new page and the beginning of the slur was moved over the 1st quaver so that it would not continue the previous one (simplified, erroneous revision – see b. 65-66). category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 67
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composition: Op. 50 No. 1, Mazurka in G major
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In EE the c1-a1 sixth is a quaver, which is a patent mistake. category imprint: Differences between sources issues: Errors in EE |
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b. 67-69
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composition: Op. 50 No. 1, Mazurka in G major
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In A1, just like in b. 11-13, of which the discussed bars are a repetition, there is no mark, whereas the range of the hairpin is unclear. In FE (→EE) it was reproduced on the basis of the range of the top arm; however, according to us, it is the bottom arm that should be considered reliable, which results in a range equivalent to the version of GE. The absence of the mark in EE means that it was added by Chopin in the last phase of proofreading of FE. In the main text we give the version of GE, in which both marks most probably reflect the notation of [A2]. category imprint: Differences between sources issues: Scope of dynamic hairpins , Authentic corrections of FE |
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b. 67-68
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composition: Op. 50 No. 1, Mazurka in G major
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We include in the main text the pedalling added by Chopin in the last stage of proofreading of FE. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 68-69
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composition: Op. 50 No. 1, Mazurka in G major
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In accordance with what was written in b. 12-13, we give precedence to the beginning of the slur of A1, written by Chopin's hand, and not to the potentially inaccurate slur of GE. In FE (→EE) the slur runs already from the G minim, which is an overinterpretation of the notation of A1 or a common mistake. category imprint: Differences between sources |