



Rhythm
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b. 21-22
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composition: Op. 50 No. 1, Mazurka in G major
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There is no tie of g in A1, which must be Chopin's oversight: cf. b. 17-18. The tie was added in FE (→EE), which, however, does not need to point to Chopin's proofreading, since such additions would be routinely introduced by the publishers, sometimes explicitly contrary to Chopin's intention, e.g. in the Mazurka in D Major, Op. 33 No. 3, b. 8-9 and analog. or in the Scherzo in C category imprint: Differences between sources issues: Errors of A , FE revisions |
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b. 54-55
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composition: Op. 50 No. 1, Mazurka in G major
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The missing tie of e2 in GE2 is probably down to a combination of two factors:
Consequently, the engraver of GE2 considered the ending of the tie of e2 in b. 55 to be the ending of the phrase mark and moved that little slur higher, over the quaver beam (that slur is included in the note on the curved lines in b. 55-57). category imprint: Differences between sources issues: Errors in GE |
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b. 54
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composition: Op. 50 No. 1, Mazurka in G major
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The rhythmic notation of the 1st beat of the bar in FE2 is completely erroneous: both the stem and the quaver beam of the upper voice on the 1st beat of the bar were overlooked, as a result of which the e quaver looks like a crotchet. category imprint: Interpretations within context; Differences between sources issues: Errors in FE |
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b. 64-65
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composition: Op. 50 No. 1, Mazurka in G major
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The version of A1, repeated after b. 8-9 – the discussed bars are not written out in the autograph – was probably abandoned by Chopin. category imprint: Differences between sources |
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b. 67
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composition: Op. 50 No. 1, Mazurka in G major
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In EE the c1-a1 sixth is a quaver, which is a patent mistake. category imprint: Differences between sources issues: Errors in EE |
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