mUltimate Chopin

Op. 30, Mazurka in D♭ major

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 38

composition: Op. 30, Mazurka in D♭ major

No markings in FC (→GE)

  in FE (→EE)
..

The pedalling of FE (→EE) seems to be a mistake, even if it was entered by Chopin. The pedalling of bars 25-39, compliant between FC and FE except this place, reveals an easy-to-grasp regularity – the use of pedal is marked only where the bass notes are played separately – a regularity that the discussed markings of FE break. 

category imprint: Differences between sources

issues: Errors in FE

b. 38

composition: Op. 30, Mazurka in D♭ major

..

In FE (→EE) there is no  raising d1 to d1, which is a patent mistake.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Errors repeated in EE

b. 39

composition: Op. 30, Mazurka in D♭ major

g2 in FC (→GE1) & FE (→EE)

g2 in GE2

Our variant suggestion
..

There are two main arguments supporting the hypothesis that Chopin could have committed a mistake by leaving the 1st note in the bar without a  resulting in 

g2:

  • analogy with the three previous phrases, in which the 1st R.H. note always (both in C and B) constitutes the interval of a major ninth with the bass;
  • Chopin's hesitation, quite frequent, as to the presence of the last accidental in the key signature, in this case the  to g. The fact that Chopin was uncertain whether it was g or g that required an accidental is proven by a  to g2, put twice, in bars 27 and 35. Therefore, if Chopin provided the g2 note with a flat, which was actually totally unnecessary, it is logical to assume that a respective note without a  is to be interpreted as g2.

Due to the above, in the main text we suggest a variant solution with affinity to g2.
A natural was added in GE2, probably on the basis of a comparison with bar 31.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Omission of current key accidentals , Last key signature sign

b. 40

composition: Op. 30, Mazurka in D♭ major

Trill with c2 in sources, literal reading

Trill with c2 or c2, our variant suggestion
..

When interpreted literally, the source text indicates that the top note in the trill is c2, since there is no accidental clarifying its pitch. However, Chopin frequently omitted such accidentals (cf., e.g. bar 23 and 93 or the Scherzo in B minor, Op. 31, bar 74), hence it is not entirely certain whether this was indeed his intention. The use of an e-d seventh to write down the diminished four-note chord naturally implies c2, which is confirmed by the key of F minor, valid for the next 16 bars. Nevertheless, this is not a decisive argument, since the discussed bar is of a transitional nature, while the used chords, allowing a variety of interpretations, do not determine the key.

category imprint: Interpretations within context; Editorial revisions

b. 40

composition: Op. 30, Mazurka in D♭ major

Crotchet b1 in FC (→GE)

Minim in FE (→EE)
..

Both versions may be authentic – Chopin would write groups of small notes both as occupying a certain part of the bar and beyond the bar, cf., e.g. the Concerto in F minor, Op. 21, II mov., bar 26 and 30-31 and 33. On the other hand, one of them may be erroneous, but it is not so important in this context, since a difference in notation does not significantly influence the performance. In the main text we suggest a minim due to a possibility of a correction by Chopin in FE (→EE).

category imprint: Differences between sources

issues: Authentic corrections of FE