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Op. 24 No. 4, Mazurka in B♭ minor

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b. 107

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

 in A (→GE→FE→EE)

The editors' alternative proposition
..

The pedal release mark is placed in the sources after the 3rd crotchet of the L.H. Taking into consideration the notation in the analogous bars 13 and 45 and in the further sections of the progression (bars 109 and 111), we suggest an alternative solution, being convinced that Chopin's notation here may be inaccurate.

category imprint: Editorial revisions

b. 107

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

No staccato mark in A (→GE1→FE→EE)

A dot in GE2 (→GE3)
..

We add a staccato dot under the bass note B flat. An identical addition was already made in GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: GE revisions

b. 108-111

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

 in A and GE3

GE1 (→FE→EE)

GE2
..

In bars 108-111 in A, the pedal release marks are written before the 3rd crotchet of the L.H. In GE1 (→FE→EE)  were placed after the 3rd crotchet, which is definitely an error considering the changing harmonies in bars 108 and 110. In GE2, three out of four marks were moved, yet conformity with the notation of A was only retained in bar 108. Full conformity with A was restored in GE3.

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions

b. 108

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

..

There is no numeral 3 over the triplet in A (→GE1→FE). Its absence, although not causing any misunderstanding, is nonetheless a notation error. The numeral was added in EE and GE2 (→GE3).

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 108

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

A long accent in A and FE

A short accent in GE and EE
..

The dotted quaver at the beginning of the bar clearly has a  long accent in A. The corresponding mark in GE1 looks like an ordinary short accent, yet it reaches almost to the semiquaver due to the awkward horizontal planning of the notes that form the dotted rhythm. This was probably the reason why the accent from GE1 was interpreted in FE as a long one. EE and GE2 (→GE3) all use accents that are definitely short ones. Cf. bar 100, as well as 46-48.

category imprint: Differences between sources

issues: Long accents , EE inaccuracies