b. 40
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composition: Op. 50 No. 2, Mazurka in A♭ major
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The hairpin written in A1 in b. 39-40 was overlooked in FE (→EE). In turn, the absence of the mark in GE may mean that Chopin decided not to use that indication in [A2] (→GE). However, other explanations are also likely, hence in the main text we suggest an alternative solution. Due to the fact that the notation of the R.H. part in b. 40 in A1 is incomplete, the range of the mark is ambiguous, and the range we suggest is one of the possible interpretations. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Inaccuracies in A |
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b. 42-46
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composition: Op. 50 No. 2, Mazurka in A♭ major
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Just like in b. 11 and 15, it is uncertain whether the mordents in b. 42 and 46 were added by Chopin already in [A2] or only just in the proofreading of GE. category imprint: Differences between sources; Corrections & alterations |
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b. 43-51
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composition: Op. 50 No. 2, Mazurka in A♭ major
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Just like in b. 12 and 20, in the main text we include the cautionary flats before a1 in b. 43 and 51, added in the first stage of proofreading of FE (→EE). category imprint: Differences between sources issues: Cautionary accidentals , FE revisions |
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b. 43-44
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composition: Op. 50 No. 2, Mazurka in A♭ major
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The fact that the slur in FE starts later is probably a mistake caused by the transition into a new line. The correct text in EE is probably a result of revision on the basis of comparison with analogous b. 12-13. category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 47
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composition: Op. 50 No. 2, Mazurka in A♭ major
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Just like in b. 16, in the main text we add cautionary flats before e2 and e1. The latter was already added in the proofreading of FE (→EE). category imprint: Differences between sources; Corrections & alterations issues: Cautionary accidentals , FE revisions |