In A1 Chopin crossed out the R.H. part in both bars and rewrote it on the stave above. The only element of the deleted notation that we managed to decipher is a single d2 grace note at the beginning of b. 37, which was originally there, most probably instead of the double grace note of the final version. Chopin tried to write a double grace note on the same stave, yet he eventually crossed out everything and wrote the final version on a clean stave. The accents were absent in the original notation, hence Chopin added them while performing the aforementioned correction, which could have taken place already after [A2] had been finished or even after it had been sent to Vienna.
At the time of writing the accent in b. 37, the pen ran out of ink, as a result of which the mark is poorly visible. As it is absent in EE, it was initially most probably overlooked in FE and added in the last stage of proofreading. It would also explain the slight difference in length between both marks in FE (the mark in b. 37 is longer), thus confirming this type of accent as having been intended by Chopin.
Although the above reconstruction of the process of development of the notation of that place is hypothetical to a certain extent, according to us, it is evident that the missing accents in GE result from uncoordinated corrections in A1 and [A2] and in the proofreading of FE and GE. Therefore, we directly introduce the accents of A1, which probably belong to the latest additions performed in the notation of the Mazurka, to the main text.
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category imprint: Differences between sources; Corrections & alterations; Source & stylistic information
issues: Long accents, Corrections in A, EE inaccuracies, Deletions in A, Authentic corrections of FE
notation: Articulation, Accents, Hairpins