Issues : Corrections in A

b. 12-13

composition: Op. 50 No. 1, Mazurka in G major

No sign in Afrag

 in A1 (literal reading→FE1)

 in A1, contextual interpretation

in GE & EE

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According to us, the  hairpin written in A1 is to be interpreted as ending before the  indication in b. 13. It is most likely that Chopin first wrote the top arm (perhaps before entering ) and then indicated the end of the mark with the ending of the bottom arm. Such an interpretation is confirmed by the mark of A1 in b. 36 and the notation of GE based on [A2] (in GE2 the mark was shortened with respect to GE1, which does not influence its meaning). In FE the mark was interpreted according to the length of the top arm; moreover, FE2 reproduced it inaccurately. It remains unclear how come that the mark was shortened in EE – perhaps by analogy with b. 36. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , Corrections in A , EE inaccuracies , Hairpins denoting continuation , Inaccuracies in A

b. 17-18

composition: Op. 50 No. 1, Mazurka in G major

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There is a visible correction in A1: deletion of the double bar line before b. 17. According to us, the change was introduced by Chopin in an already finished manuscript, perhaps at the time of writing [A2]; anyway, after the slurs had been written. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 26-27

composition: Op. 50 No. 1, Mazurka in G major

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It seems that the ending of the slur of A1 led to the 1st quaver in b. 27 was added by Chopin as an extension of the previously written shorter slur (similar to the ones in b. 2, 6 and 10).

category imprint: Source & stylistic information

issues: Corrections in A

b. 85

composition: Op. 50 No. 1, Mazurka in G major

No slur in A1 (→FEEE)

Slur in GE

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The slur is one of the improvements of notation introduced most probably in [A2] (→GE). In A1 one can see a crossing-out here; it forced Chopin to rewrite the 1st beat of the bar on the stave below. The first was most probably the version with grace note (like in b. 77), which Chopin then deleted and wrote a simultaneously played D-d octave next to it. However, the bottom note had to be rewritten for some reason; after the final form of that figure had been developed, Chopin decided to write it out neatly.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A

b. 88-89

composition: Op. 50 No. 1, Mazurka in G major

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In A1 one can see that the slur over the R.H. part in b. 88 was combined with the slur in b. 89-90, written separately (led further on a new line).

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A