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b. 5

composition: Op. 24 No. 2, Mazurka in C major

f1 in A (→GE)

e1 in FE (→EE)
..

When proofing FE, Chopin changed the top note of the first chord in the L.H. from f1 to e1. This is the first change of the accompaniment in the course of this Mazurka (cf. bar 89, and also for instance bar 7 and analog. or bar 57).

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE

b. 5

composition: WN 55, Waltz in F minor

 
 
..

The marking crescendo in FEF and GEF is most probably inauthentic and comes from Fontana.

category imprint: Differences between sources

b. 5-9

composition: Op. 24 No. 1, Mazurka in G minor

Staccato signs in bars 5 and 9 in A (→GE→FE)

No signs in EE
..

Missing in bars 5 and 9 in EE are the staccato dots under D. This is probably the engraver's fault.

category imprint: Differences between sources

issues: EE inaccuracies

b. 5-12

composition: WN 55, Waltz in F minor

 
 
 
..

Generally, in the sources we encounter 3 variants of slurs within bars 5-12:
- two slurs: the 1st to the end of bar 10, whereas the beginning of the 2nd slur from bar 11 in AO, AK, AG (→CY)
- two slurs: the 1st to the end of bar 8, whereas the beginning of the 2nd slur from bar 9 in AR
- one slur in AE (→CX): in the autograph, one can see a binding between two slurs, at the transition between bars 7 and 8.

CC features two slurs written in bars 5-8 only. The first spans bars 5-7, whereas the second - bar 8. It may be a result of such an interpretation of the aforementioned binding of two slurs in AE by the copyist of a base text, unknown to us, of CC (the closest to the notation of AE).

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

b. 5-6

composition: Op. 24 No. 4, Mazurka in B♭ minor

The slur end in  A (→GE→FE→EE)

The editors' proposition
..

The slur in A finally trails off shortly after the minim d flat2, yet we clearly see that Chopin ran out of ink, which suggests that the slur was meant to reach slightly further. This guess finds confirmation in longer slurs in the analogous bars 8 and 10. We resolve the question of whether those slurs reach the semiquaver or extend to the crotchet on the 2nd beat of the bar in favour of the latter option, as those slurs are actually more phrase marks than articulation slurs. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A