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b. 76
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composition: Op. 50 No. 2, Mazurka in A♭ major
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Just like in the previous bars, the accent must have been added in the proofreading of GE1 or earlier, still in [A2]. Starting from the semiquaver, this bar is identical with b. 60, hence it is to be assumed that if it had not been for the simplified notation, Chopin would have repeated here the accent from that bar. Since it is a few of the accents of A1 that could be interpreted as long, we suggest that version also here. category imprint: Differences between sources; Editorial revisions; Corrections & alterations issues: Authentic corrections of GE |
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b. 76
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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. 76-77
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composition: Op. 50 No. 2, Mazurka in A♭ major category imprint: Differences between sources issues: Errors in FE |
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b. 77-102
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composition: Op. 50 No. 2, Mazurka in A♭ major
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In A1 these bars are marked in an abridged manner with empty bars, first with letters from a to g, which requires b. 61-67 to be repeated, and then with numbers from 1 to 19, which evokes b. 9-27. The double bar line and the change of key signature are written out in b. 84. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 77-80
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composition: Op. 50 No. 2, Mazurka in A♭ major
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These bars are not written out in A1, since Chopin marked them in an abridged manner as repetition of b. 61-64. Just like there, the accents in b. 77 and 80 may be considered long, although it is probably simply an inaccuracy of notation. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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