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b. 48
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composition: Op. 24 No. 2, Mazurka in C major
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Apart from the authentic accent placed between the staves, EE3 has an extra accent added above the 3rd crotchet of the R.H. That revision is probably based on additional accents introduced in EE1 in analogous bars 16 and 20. Cf. the note to bars 48 and 52. category imprint: Differences between sources issues: EE revisions |
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b. 48-49
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composition: Op. 24 No. 2, Mazurka in C major
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The slur added in EE3, probably by analogy to the slur added in bars 16-17 in EE, is certainly inauthentic. category imprint: Differences between sources issues: EE revisions |
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b. 48-52
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composition: Op. 24 No. 2, Mazurka in C major
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In bars 48 and 52 in EE, the R.H. part is split into two voices, just like in the previous bars: category imprint: Differences between sources issues: EE revisions |
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b. 48
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composition: Op. 24 No. 2, Mazurka in C major
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Visible over the R.H., part in A is a deletion that shortens the slur started in the previous bar. A similar correction can be found in bar 16. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 49-50
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composition: Op. 24 No. 2, Mazurka in C major
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In A, the extent of the slur beginning on the 2nd beat of bar 49 is not quite clear. Both presented possibilities have some musical justification, yet a comparison with similar places in the text (bars 17-18 and 101-102) makes us consider the shorter slur to be more probable; this is also how that slur was understood in GE (→FE→EE). category imprint: Graphic ambiguousness issues: Overextending slur , Inaccurate slurs in A |
. We retain the notation of 
