Verbal indications
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b. 177-179
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In the main text we give dimin. after GE. The absence of the dashes marking its range can be explained by the presence of a hairpin in this edition. category imprint: Differences between sources |
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b. 185
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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and the accent are subsequent indications belonging to the group of the indications added by Chopin in [AG] in the final fragment of the Mazurka – cf., e.g. b. 173-176, 177, 180-188. We present them as laid out in GE1, which was based directly on [AG]. category imprint: Differences between sources; Corrections & alterations issues: GE revisions |
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b. 187
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The indication slentando must be a Chopinesque addition introduced 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. 191-192
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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in AF is written at the end of b. 191; it undoubtedly concerns the semiquaver that closes the bar too. This is how it was interpreted in FE (→EE), in which the indication was placed – in accordance with usual practices – slightly before the semiquaver. This is the notation we give in the main text. The notation of AI resembles the one of AF, although the indication is moved slightly to the right. In turn, in GE1 the greater part of is already in b. 192, which was revised in GE2 by placing the entire mark in b. 192, as a result of which it seems to concern only the crotchets in this bar. It cannot correspond to Chopin's intention, who would sometimes use a previous manner of placing indications within and not at the beginning of their scope. category imprint: Differences between sources issues: GE revisions , Centrally placed marks |
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