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Op. 24 No. 2, Mazurka in C major

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 24

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

 in A (→GE2→GE3)

An accent in GE1 (→FE→EE)
..

In A, the dynamic mark    in bar 24 is so short that in GE1 (→FE→EE) it was mistook for an accent. However, what contradicts that interpretation is the placement of that mark in A: it is entered after the note, which is hardly ever found for accents in Chopin's autographs (a very similar sign in bar 36 was read in GE as diminuendo hairpins). GE2 (→GE3) have   here.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE

b. 25-26

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

The   mark in A

The  mark in GE (→FE→EE)
..

Contrary to the notation of A, in GE (→FE→EE) the  mark does not reach the 1st note of bar 26. In GE, bar 25 is the last bar of the system, which was probably the reason behind shortening of the hairpin mark. Cf. the note to bar 26.

category imprint: Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins

b. 26

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

The  mark in A

GE1 (→FE→EE)

GE2 (→GE3)
..

In bar 26 in GE1 (FE→EE) the  mark is inaccurately reproduced from A, which has been largely corrected in GE2 (→GE3). In our main text we give the notation of A.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 27

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

..

The staccato dot over the crotchet g2 is missing In EE, which is obviously a mistake. 

category imprint: Differences between sources

issues: Errors in EE

b. 27

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

A   mark in A (→GE)

 An accent in FE (→EE)
..

It is not clear whether the mark entered in A on the 3rd beat of the bar should be understood as hairpins   or as a long accent. The same may be said about the mark in GE which was nonetheless reproduced in FE (→EE) as an accent, and on top of that a short one. The similarity of the mark in A to the neighbouring marks in bars 26 and 28 makes us consider it to be a hairpin mark . Taking into account that in this context the difference between a long accent and a diminuendo mark of similar length is very slight, both in graphic appearance and in meaning, we give up the alternative reading (with the long accent).

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents