b. 33
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composition: Op. 24 No. 2, Mazurka in C major
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A bears the traces of deleted pedal markings in this bar. Considering that this bar differs from the analogous bar 25 by a single note only, one could suspect a misunderstanding here, yet the basic assumption that should be made is that Chopin actually wanted to add variety to one of the four similar phrases. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 34
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composition: Op. 24 No. 2, Mazurka in C major
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The extent of the hairpins in A is very clear. Nonetheless, in GE1 (→FE→EE) the mark was stretched over the entire bar. That inaccuracy was corrected in GE2 (→GE3). category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins |
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b. 35
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composition: Op. 24 No. 2, Mazurka in C major
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What is clearly a wedge in A has been reproduced in GE (→FE→EE) as a dot. The entire Opus 24 has only dots as staccato signs in the first editions. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 35
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composition: Op. 24 No. 2, Mazurka in C major
category imprint: Differences between sources issues: EE revisions |
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b. 35
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composition: Op. 24 No. 2, Mazurka in C major
..
Chopin's before b2, present in A (→GE) and EE3, was removed in the proofing of FE (→EE1→EE2). It was added back in EE3, as that edition was revised on the basis of GE. category imprint: Interpretations within context issues: Cautionary accidentals |