The change of key introduced in [A] (→FE→GE,EE) undoubtedly facilitates the interpretation of the text of bars 33-52. The four-bar sections of the subsequent part are no longer in the key of A major, hence keeping three sharps in the key signature plays a structural rather than a tonal role – the key signature of B major is restored upon the return of the main theme of the Mazurka in bar 69, and not upon the return of the key of B major, which occurs already in bar 53.
In [A] (→FE→EE) Chopin, as was his habit, did not use a double bar line despite the change of key signature. GE adding a double bar line adjusts the notation to the traditional norm.
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category imprint: Differences between sources; Corrections & alterations
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