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Op. 24 No. 2, Mazurka in C major

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b. 109-112

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

A more probable reading of the slurs of A (→GE2→GE3)

A less probable reading of A (→GE1→FE→EE)
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Bar 111 opens a new line in A. This, as is often the case in Chopin's autographs, brings about some ambiguity related to the extent of slurs. The slur in bar 110 clearly suggests continuation, which is not confirmed by the slur from bar 111. The conclusive slurring in bars 105-108 makes us consider a single slur to be much more probable than the two slurs printed in GE1 (→FE→EE). The interpretation concordant with our conclusion was adopted in GE2 (→GE3).

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 109-112

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

A single slur in GE (→FE)

Two slurs in A and EE
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Taken literally, A has got two slurs in the L.H. embracing bars 109-110 and 111-112. In spite of that, in GE (→FE) the entire four-bar section is embraced by a single slur This seems to be a fortunate inaccuracy, as there are no grounds for applying different slurring than the one used in analogous bars 105-108 (and only in the L.H. probably - see the note concerning the R.H.). EE has got two slurs, which may have been influenced by the R.H. slurring.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccurate slurs in A

b. 111-112

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

An octave in A (GE1→GE2).

A fifth in FE (→EE) and GE3
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When proofing FE →EE, Chopin changed the version recorded in A (→GE1→GE2), deciding against the subtle differentiation of that detail. The version that retained the regularity of the chord progression was also introduced in GE3.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 113-118

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

..

There are deletions in bars 113-114 and 117-118 visible in A. Chopin was shortening the rhythmic value of the chords on the 2nd beat of those bars from the minim to the crotchet. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A