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b. 28
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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We simplify the notation of the 1st note of the bar preserving all the elements that are significant for its meaning. The adopted solution was many times employed by Chopin in similar situations, e.g. in bars 36 and 98. The erasure visible in A makes us guess that the notation of the manuscript resulted from the correction of the version with the minim f1 in the lower voice. category imprint: Editorial revisions; Corrections & alterations issues: Corrections in A |
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b. 28
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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The extra slur over the triplet in A was omitted in GE (→FE→EE). In the context, that slur is just part of the triplet marking and we do not take it into consideration (cf. General Editorial Principles, point 16). category imprint: Differences between sources; Editorial revisions issues: Triplet slurs |
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b. 29
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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In A, the slur under the characteristic figure in the R.H. in this bar fails to include the last crotchet. A comparison with analogous bars 21-23 and 30-31 reveals a patent inaccuracy of the manuscript. Similar inaccuracies in less obvious situations often lead to difficulties with the interpretation of slurs. category imprint: Source & stylistic information issues: Inaccurate slurs in A |
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b. 29-31
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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The staccato signs in A are definitely more like wedges than dots. Still, GE (→FE) has dots in all those places. Absence of any signs in EE is an obvious error. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Errors in EE , Wedges |
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b. 29-44
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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In bars 29-31 and 44 of A, the category imprint: Differences between sources issues: Inaccuracies in GE |
in 