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Op. 24 No. 2, Mazurka in C major

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b. 27

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

The slur in A (→GE1→FE→EE)

GE2 (→GE3)
..

In GE2 (→GE3) the slur was lengthened, probably by analogy with bar 35. In our main text we retain the notation of A (→GE1→FE→EE), as  in this context both notations are practically equivalent in meaning.

category imprint: Differences between sources

issues: GE revisions

b. 27

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

The notation of A (→GE→FE)

The notation of EE
..

In EE, Chopin's ritenuto was abbreviated to the form: riten. Similarly in bar 35.

category imprint: Differences between sources

issues: EE inaccuracies

b. 27

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

 before b2 in A (→GE) and EE3

b2 without   in FE (→EE1→EE2)
..

By putting the  http://sm.multimatechopin.com/uploads/ckeditor/images/KASO.png before b2  in A (→GE), Chopin probably wanted to draw our attention to an unconventional melodic phrase with the characteristic Lydian fourth. Still, the natural was removed in the proofing of FE (→EE1→EE2), which was evidently motivated by the intention to adhere to ordinary rules governing the use of cautionary accidentals. It is difficult to determine whether the correction was made on Chopin's request. The presence of http://sm.multimatechopin.com/uploads/ckeditor/images/KASO.png in EE3 is explained by the fact that the text of GE1 was used for its revision. The same situation occurs in bar 35.

category imprint: Differences between sources

issues: Cautionary accidentals

b. 27

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

A   mark in A (→GE)

 An accent in FE (→EE)
..

It is not clear whether the mark entered in A on the 3rd beat of the bar should be understood as hairpins   or as a long accent. The same may be said about the mark in GE which was nonetheless reproduced in FE (→EE) as an accent, and on top of that a short one. The similarity of the mark in A to the neighbouring marks in bars 26 and 28 makes us consider it to be a hairpin mark . Taking into account that in this context the difference between a long accent and a diminuendo mark of similar length is very slight, both in graphic appearance and in meaning, we give up the alternative reading (with the long accent).

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents

b. 29

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

A more probable reading of  in A (→GE2→GE3)

A less probable reading of  in A (→GE1→FE→EE)
..

The positioning of  in relation to the 3rd crotchet of the bar is not clear in A. In the editors' opinion, the notation of bars 25-32 (the last line on the page in A) does not point to the intention of diversified pedalling, which speaks in favour of placing the asterisk after the crotchet. On the other hand, in the analogous bar 21 the asterisk is placed more or less under the crotchet, so the same position also seems possible here. Both in GE1 (→FE→EE) and in GE2 (→GE3) pedalling in this bar is the same as in the neighbouring bars. 

category imprint: Graphic ambiguousness; Differences between sources