Issues : Authentic corrections of FE
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b. 13
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composition: Op. 24 No. 1, Mazurka in G minor
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When correcting FE (→EE), Chopin made the accompaniment in this bar fully resemble that in all the analogous bars. category imprint: Differences between sources; Corrections & alterations |
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b. 17-29
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composition: Op. 24 No. 1, Mazurka in G minor
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The wedges in A are very clear, particularly in bars 17 and 25, yet in GE (→FE→EE) there are only dots (cf. bar 1.). In bar 17 in GE1 the sign was omitted, which Chopin corrected when proofing FE (→EE). In the editors' opinion, that correction should be understood as supplementing the staccato sign in bar 17, in line with bars 21, 25 and 29, rather than replacing a wedge with a dot in bar 17. category imprint: Differences between sources; Corrections & alterations |
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b. 17
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composition: Op. 24 No. 1, Mazurka in G minor
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In A (→GE1) there is no cautionary category imprint: Differences between sources; Corrections & alterations issues: GE revisions , Cautionary accidentals , Authentic corrections of FE |
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b. 18-19
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composition: Op. 24 No. 1, Mazurka in G minor
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The slur of A (→GE) embraces only bar 19. When proofing FE (→EE), Chopin moved the beginning of that slur one note earlier, making the phrase-marking here identical with the one in bars 22-23. He also made an almost identical change of phrasing in bars 30-31. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 21-22
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composition: Op. 24 No. 1, Mazurka in G minor
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We give the slurs after A (→GE), being of the opinion that the corrected version of FE (→EE) cannot in this case be considered Chopin's ultimate intention. Cf. similar bars 17-18, 25-26 and 29-30. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
before f1. The sign was supplemented in 
