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b. 33-63
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composition: Op. 24 No. 1, Mazurka in G minor
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In bars 33-35, 40-43, 54, 57, 61 and 63 in A, the pedal release asterisks are always placed at the end of the bar after the 3rd crotchet of the L.H. In GE (→FE→EE) all those asterisks were printed under the 3rd crotchet. Cf. bars. 1-32. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 33
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composition: Op. 24 No. 1, Mazurka in G minor category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 33-34
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composition: Op. 24 No. 1, Mazurka in G minor
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The phrase mark in A, just like two further ones in analogous situations, embraces the motif that consists of two thirds a flat1-c2. The meaning of that curved line in GE1 (→FE) is no longer clear, as it could just as well be interpreted as a tie sustaining as1. This is at least how the reviewer of GE2 understood it, which is evidenced by the change made in bars 34-35. In the discussed place in GE2 the slur was omitted, probably with the intention to move the slur of GE1 up in order to turn it more clearly into a tie (it reappeared in GE3). The engraver of EE read the line to be a tie sustaining a flat1 and engraved it in a manner that left no room for doubt. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 33
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composition: Op. 24 No. 1, Mazurka in G minor
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In A, the notation of the rhythm of the first beat of the bar reveals the correction introduced by Chopin: the semiquaver rest is written in such a manner so as to conceal earlier dots extending the a flat1-c2 quaver. Chopin probably made a similar change also in bars 36 and 44. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 34-35
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composition: Op. 24 No. 1, Mazurka in G minor
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In both bars in GE2 (→GE3) the category imprint: Differences between sources issues: GE revisions |
in 
before b1. A similar addition was made in 
