Issues : Corrections in A
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b. 3-4
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composition: Op. 24 No. 1, Mazurka in G minor
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Visible in A is the erased original version of the accompaniment, in which both bars had G crotchet with a staccato dot falling on the 1st beat. Both bars also had pedalling analogous to the pedalling preserved in adjoining bars. The notation before the change was as follows:
category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Accompaniment changes |
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b. 15
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composition: Op. 24 No. 1, Mazurka in G minor
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In A, Chopin changed the initial rhythm category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 17-21
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composition: Op. 24 No. 1, Mazurka in G minor
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Visible in A over the triplet in bars 17 and 21 are erasures that point to corrections made by Chopin in those places. It is hard to give an obvious explanation as to what was being changed, yet it seems probable that Chopin was removing a numeral and a slur defining the triplet (moving the slur under the triplet and extending it one note further) to insert a motivic long accent instead. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 29-31
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composition: Op. 24 No. 1, Mazurka in G minor
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The slur in A, despite its reaching quite far to the left towards the 1st crotchet, definitely begins from embracing the chord on the 2nd crotchet. Still, in GE (→FE→EE) the slur begins on the 1st crotchet. The result of corrections halfway through bar 30 is not obvious at the first glance and GE1 (→FE→EE) do not end the slur at that point. A more detailed analysis of the notation reveals that Chopin divided the original slur, which was probably already noticed in GE2 (→GE3). category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Inaccuracies in GE , Corrections in A , Errors resulting from corrections , 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 |
to two equal quavers.
