Issues : Errors in EE
b. 9
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composition: Op. 50 No. 3, Mazurka in C♯ minor category imprint: Differences between sources issues: Errors in EE , Errors in GE |
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b. 17
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The mark, although reaching the end of the bar in AF (→FE), is certainly to be interpreted as a long accent. It is proven by comparison with the marks in other sources, i.e. the long accent in AI and the short one in GE, and with the analogous places in this autograph. The absence of the mark in EE seems to be a mistake of the edition's engraver. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in EE |
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b. 50
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The 2nd quaver in EE is an erroneous d1, most probably resulting from an oversight of a ledger line, since the notehead is slightly away from the most bottom stave line. category imprint: Interpretations within context; Differences between sources issues: Errors in EE |
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b. 61-63
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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Small differences in the placement of the marks are of no practical meaning in this context. In the main text we reproduce the notation of AF (→FE), perhaps more accurate in this fragment – cf. b. 60. EE are lacking in the mark in b. 63, which is most probably a mistake related to the transition to a new page; we consider neither this version nor the absence of pedalling in AI to be a variant. category imprint: Differences between sources issues: Errors in EE , EE inaccuracies |
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b. 62
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The version of EE is a patent Terzverschreibung. Moreover, the sources differ in the number of cautionary naturals before this chord – two (a and a1) in AI and GE versus one (a only) in AF (→FE→EE). category imprint: Differences between sources issues: Errors in EE , Terzverschreibung error , Cautionary accidentals |