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Op. 24 No. 2, Mazurka in C major

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Articulation, Accents, Hairpins

b. 15-19

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

Accents in A (→GE2→GE3)

One accent in GE1 (→FE→EE)

Our suggestion
..

In bars 15 and 19, A has accents on the 2nd beat of the bar. Both marks are drawn with a lighter stroke of the pen than the remaining accents in bars 13-20, which may indicate that they had been entered earlier. This hypothesis finds confirmation in the notation of A in analogous bars 47, 51, 99 and 103, in which accents on the 2nd beat were removed, probably after the accents on the third beat in bars 45-52 and 97-104 were entered. In this situation we consider it very probable that leaving the accents in bars 15 and 19 is the result of Chopin's oversight when correcting A. It cannot be entirely ruled out that the lack of an accent on the 2nd beat in bar 19 is the result of Chopin's correction in GE1 (→FE→EE), although the adding of the sign in GE2 (→GE3) seems to contradict that possibility. 

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Authentic corrections of GE , Omitted correction of an analogous place

b. 16-20

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

..

In bars 16 and 20 in EE, the R.H. part was divided into two voices,  just like the previous bars: . However, that formally justified change necessitated the introduction of another change: as in that new graphic layout the accent on the 3rd crotchet placed under the stave seemed to refer only to e1, another accent was added above c2. We stick to the notation of  A (→GE→FE). EE  had the identical change of graphic layout also introduced in analogous bars 48, 52 and 100.

category imprint: Differences between sources

issues: EE revisions

b. 20

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

No staccato sign in A (→GE1→FE→EE)

A dot in GE2 (→GE3)
..

In GE2 (→GE3), a staccato dot was added above the 2nd chord of the L.H. This is probably due to an erroneous interpretation of A, in which the hook at the end of the R.H. chord stem,  resulting from hasty writing, could be interpreted as a dot above the L.H. chord. 

category imprint: Differences between sources

issues: GE revisions

b. 21-24

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

Dots in A (→GE→FE)

Dots missing from EE
..

EE has no staccato dots for the first crotchets of the L.H., which is probably the engraver's oversight. 

category imprint: Differences between sources

issues: Errors in EE

b. 22

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

 in A

GE1 (→FE)

GE2 (→GE3)

EE
..

The extent of the hairpins  was reproduced particularly carelessly in GE1 (→FE) - which is probably the engraver's fault. Attempts to correct the hairpins position were made both in EE and in GE2 (→GE3). In the main text we reproduce the notation of A.

category imprint: Differences between sources

issues: EE revisions , Scope of dynamic hairpins , Errors in GE , GE revisions