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Issues : Inaccuracies in FE
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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. 55
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composition: Op. 50 No. 1, Mazurka in G major
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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
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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. 73-75
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composition: Op. 50 No. 1, Mazurka in G major
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We give three possible interpretations of the accents of A1 in these bars, including also the notation of analogous b. 81-83 in A1 and GE1, based on [A2]. The short accents of the editions most probably result from the engravers' routine interpretation of the markings. category imprint: Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 76
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composition: Op. 50 No. 1, Mazurka in G major
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The mark in A1 is clearly longer than the accents in the previous 3 bars as well as than the marks in b. 81-83. In spite of that, according to us, it is to be interpreted as a long accent, which is indicated by its unequivocal graphic relationship with the b minim. Marks of similar length are featured in A1 as long accents, e.g. in b. 6 or 26. The short accent in the editions is most probably an inaccuracy (and certainly in FE). category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in FE |
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