mUltimate Chopin

Op. 24 No. 4, Mazurka in B♭ minor

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Rhythm

b. 36-37

composition: Op. 24 No. 4, Mazurka in B♭ minor

Sustained e flat1 in A and GE2 (→GE3)

Without the e flat1 crotchet in GE1

Unclear slur in FE

A phrase mark in EE
..

In A, the double-dotted quaver e1 on the 3rd beat of the bar is prolonged to the crotchet value and tied to e1 in the subsequent bar. The omission of the additional crotchet stem for that note in GE1 made it considerably harder to read that fragment properly. The notations of FE and EE further deform Chopin's notation: the tie for e1 is interpreted as a phrase mark linking the demisemiquaver d2 with the struck e​​​​​​​1 in bar 37.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 52-53

composition: Op. 24 No. 4, Mazurka in B♭ minor

A tie in A, GE2 (→GE3) and EE3 and tie interpretation in GE1 (→FE)

No tie in EE1 (→EE2)
..

In GE1 (→FE) the tie sustaining  f2 lacks an ending in bar 53 (on a new page). In EE1 (→EE2) that tie was entirely omitted. In GE2 (→GE3) and EE3 the tie is notated correctly.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in GE

b. 56-57

composition: Op. 24 No. 4, Mazurka in B♭ minor

b flat sustained in A and GE2 (→GE3)

b flat repeated in GE1 (→FE→EE)
..

The tie running in A from b flat in the L.H. in bar 56 to b flat in the R.H. in bar 57 was omitted in GE1 (→FE→EE). This is a mistake, corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE

b. 60

composition: Op. 24 No. 4, Mazurka in B♭ minor

Division into voices in A

GE (→FE→EE)
..

Chopin not always precisely notated the divisions between the voices. However, in this situation his notation is correct and exact from the point of view of voice-leading. Its simplification in GE (→FE→EE) must be therefore considered an inaccuracy.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 64-72

composition: Op. 24 No. 4, Mazurka in B♭ minor

..

The erasures visible in A allow for the reconstruction of the initial rhythm of those bars. The accented notes on the 2nd beat were originally minims, just like in bar 62 and analogous bars.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A