mUltimate Chopin

Op. 24 No. 3, Mazurka in A♭ major

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b. 1

composition: Op. 24 No. 3, Mazurka in A♭ major

The rhythm in AI

The rhythm in A (→GE→FE→EE)
..

In A (→GE→FE→EE) Chopin changed the R.H. rhythm in comparison to the AI version. Scrapings visible in A show that Chopin considered even a double dotted rhythm: the last d2 was written as a semiquaver following a crotchet with two dots.

AI also has a different version in the L.H.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Chopin's hesitations

b. 1

composition: Op. 24 No. 3, Mazurka in A♭ major

The L.H. part in AI

A (→GE→FE→EE)
..  

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 2

composition: Op. 24 No. 3, Mazurka in A♭ major

No mark in AI

 in A (→GE→FE→EE)

Our suggestion
..

A (→GE→FE→EE) has a mark here. In the main text we propose reading it as a long accent for f2, guided first of all by the analogy with bar 26 in A. In AI there is no mark at all.

category imprint: Differences between sources; Editorial revisions

issues: Long accents

b. 2

composition: Op. 24 No. 3, Mazurka in A♭ major

 in AI and A

GE (→FE→EE)
..

In bar 2 in GE1 (FE→EE) the pedal release mark  is placed under the third crotchet of the bar. Attempts were made in GE2 to correct that error, but the outcome is inaccurate. In our main text we rely on AI (→A). Similarly in bars 10 and 11.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 2

composition: Op. 24 No. 3, Mazurka in A♭ major

AI

A and #Wn2

GE1 (→FE→EE)
..

AI has a dotted rhythm on the 1st beat, and no grace note before a crotchet f2 on the 2nd beat. In the main text we give the undoubtedly ultimate version of A (→GE→FE→EE).

In GE1 (→FE→EE) the slur accompanying the grace note begins too early from the quaver a1. This imprecision was corrected in GE2.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in GE