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b. 60
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composition: Op. 50 No. 2, Mazurka in A♭ major
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The category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of GE |
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b. 60-64
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composition: Op. 50 No. 2, Mazurka in A♭ major
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In b. 60-62 and 64 in the main text we give the short accents featured in the editions, since the homogeneous rhythmic and articulation context prompts us to such an interpretation also in the case of the longer marks, written in A1 in b. 60, 61 and 64. See also b. 63, 65-66 and 67. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 61-67
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composition: Op. 50 No. 2, Mazurka in A♭ major
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In A1 these bars are provided with consecutive letters from a to g, which identify a fragment repeated then as b. 77-83. category imprint: Source & stylistic information |
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b. 61-62
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composition: Op. 50 No. 2, Mazurka in A♭ major
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Both the absence of a slur next to the grace note in b. 61 and reproducing the slur in b. 62 as a conventional mark, combining the grace note with the top (g category imprint: Differences between sources issues: Errors in FE , GE revisions |
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b. 62
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composition: Op. 50 No. 2, Mazurka in A♭ major
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In the main text we include the cresc. marking, which is one of the indications specifying the performance indications introduced in [A2] or perhaps only just in the proofreading of GE1. The latter is indicated by the absence of a respective addition in b. 78, which was probably marked as repetition of b. 62 in [A2], just like in A1 (however, other explanations are also likely, e.g. an oversight of the engraver). category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of GE |
in 
1) and not bottom (c1) note of the quaver, must be a mistake and inaccuracy of 
.
