Issues : Main-line changes
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b. 59-71
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composition: Op. 24 No. 2, Mazurka in C major
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In bars 59, 63, 67 (R.H.) and 71 (L.H.) in A there are traces of deleting the dot extending the crotchet on the 2nd beat of the bar and the quaver flag at the last note of the bar. However, the spatial arrangement of those notes within the bar shows that the initial version of the rhythm was just like the final version – 2 quavers and 2 crotchets. It seems that in the course of his work on A Chopin twice changed his mind about the rhythm in those bars: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Chopin's hesitations , Main-line changes |
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b. 98
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composition: Op. 24 No. 2, Mazurka in C major
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The version of A (→GE) here is identical with bars 14 and 46. Chopin changed it when proofing FE (→EE), introducing a varied version of the melodic motif. However, the initial version of the slurring was left unchanged, which is an oversight of the engraver, or of Chopin himself. As the corrected version of the motif is the same as the one that Chopin used in bars 18 and 50, in our main text we propose a slur modelled on Chopin's slurring in those bars. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Main-line changes |
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b. 102-104
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composition: Op. 24 No. 2, Mazurka in C major
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In bars 102-103, the sources have two different versions of the R.H. part. In A (→GE) the text almost entirely follows the version found in analogous bars 18-19 and 50-51, the only difference being the presence of the staccato sign on the 2nd beat of bar 103 – a wedge in A, a dot in GE. When correcting FE (→EE), Chopin varied the last repetition of that phrase filling both bars with uniform quaver movement. Cf. bar 98. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Main-line changes |
