b. 22-28
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composition: Op. 24 No. 2, Mazurka in C major
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In those bars, the pedal release marks are placed at the end of the bar in A, after the 3rd crotchet in the L.H. In GE1 (→FE→EE) all the marks are printed under the 3rd crotchet, which may suggest - against A – the necessity of rhythmical release of the pedal at that moment. The notation of A was restored in GE2 (→GE3), with the exception of bar 24. The problem also occurs in bars 29-36 and 57-68. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 24
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composition: Op. 24 No. 2, Mazurka in C major
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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 |
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b. 25-26
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composition: Op. 24 No. 2, Mazurka in C major
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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 |
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b. 26
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composition: Op. 24 No. 2, Mazurka in C major
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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 |
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b. 27
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composition: Op. 24 No. 2, Mazurka in C major
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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 |