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Op. 24 No. 2, Mazurka in C major

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b. 92

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

A dot in A (→GE→FE→EE)

The editors' proposition
..

All the sources have staccato marked here with a dot. As in A Chopin used wedges in all the three neighbouring similar phrases, we consider this single dot to be an inaccuracy of notation.

category imprint: Interpretations within context

issues: Wedges

b. 92

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

..

A (→GE1→FE→EE) has a  before a1. As the use of that natural is quite unnecessary in the context, we omit it from our main text. It was also removed from GE2 (→#FE3).

category imprint: Interpretations within context; Differences between sources

issues: Cautionary accidentals

b. 92-94

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

 Slur end in A

GE (→FE→EE)
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In bars 92 and 94, despite the unambiguous notation of A, in GE (→FE→EE) the slur end was placed earlier, above the 2nd quaver of the bar. Cf. the note to bar 6.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 93-95

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

The dynamic marking in A, interpreted in context
 
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The interpretation of the   marks  present in bars 93 and 95 in A is not clear: the mark in bar 93 reaches as far as the last quaver of the bar, and the one in bar 95 is only slightly shorter. That notation was reproduced faithfully in GE (→FE→EE). However, a comparison with analogous bars 41 and 43 suggests that what Chopin had in mind here were long accents, and this is the interpretation we give in our main text. 

category imprint: Interpretations within context

issues: Long accents

b. 94

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

A wedge in A

No sign in GE1 (→FE→EE)

A dot in GE2 (→GE3)
..

The wedge that can be seen in A above the crotchet on the 2nd beat of the bar was omitted from GE1 (→FE→EE). The correction was made in GE2 (→GE3), i.e. a dot was added.

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Wedges