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b. 33

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

..

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

b. 34

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

 in A (→GE2GE3)

GE1 (→FEEE)

..

The extent of the hairpins   in A is very clear. Nonetheless, in GE1 (→FEEE) 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

b. 35

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

A wedge in A

A dot in GE (→FEEE)

..

What is clearly a wedge in A has been reproduced in GE (→FEEE) 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

b. 35

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

in A (→GEFE)

in EE

..

In EE, Chopin's ritenuto was abbreviated to riten. Similarly in bar 27

category imprint: Differences between sources

issues: EE revisions

b. 35

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

 before b2 in A (→GE) and EE3

Without the  before b2 in FE (→EE1EE2)

..

Chopin's  before b2, present in A (→GE) and EE3, was removed in the proofing of FE (→EE1EE2). It was added back in EE3, as that edition was revised on the basis of GE.

category imprint: Interpretations within context

issues: Cautionary accidentals