mUltimate Chopin

Op. 30 No. 4, Mazurka in C# minor

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 35-38

composition: Op. 30 No. 4, Mazurka in C# minor

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In these bars the pedalling in FC was added by Chopin. As it is also present in FE, Chopin most probably added it later also while proofreading FE. In this entire theme (bars 33-64) the pedalling in the basis for FC, that is [A], was marked only in 4 bars – bars 33-34 and 39-40.

category imprint: Corrections & alterations; Source & stylistic information

issues: Authentic corrections of FE , Authentic corrections of FC

b. 41

composition: Op. 30 No. 4, Mazurka in C# minor

No indication in FC (→GE)

in tempo in FE

a tempo in EE
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The in tempo indication was most probably added as part of the Chopinesque proofreading of FE. There is a similar situation in bar 57. The change of the preposition from in to a was an arbitrary decision of the engraver/reviser of EE.

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE

b. 46-48

composition: Op. 30 No. 4, Mazurka in C# minor

in FC (→GE)

in b. 48 in FE (→EE)

Our variant suggestion
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Such differences, sometimes significant, in the notation of pedal release can be found in Chopin's pieces a few times, mainly in the context of dissonant melodic elements overlapping the dying sound of the bass note, e.g. in the Barcarolle, Op. 60, bar 115 or in the Prelude in C minor, Op. 45, bars 5-6 and analog. On the basis thereof, one could assume that Chopin meant gradual pedal release, the so-called diminuendo pedal, in the case of which it is impossible to define the exact moment the pedal should be released (in other similar situations Chopin did not put a  mark after a  mark at all, e.g. in the Nocturne in F minor, Op. 48 No. 2, bars 112-114). Taking into account the above, in the main text we give both source  marks, regarding them not as an alternative, but as extreme possibilities between which one can look for one's own sonically satisfying solution. 

category imprint: Differences between sources

issues: Authentic corrections of FE , Authentic corrections of FC

b. 49-52

composition: Op. 30 No. 4, Mazurka in C# minor

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The pedalling in bars 49-52 and further on (to bar 61) in FC was added by Chopin. Therefore, the composer must have also added it while proofreading FE.

category imprint: Source & stylistic information

issues: Authentic corrections of FE , Authentic corrections of FC

b. 55-57

composition: Op. 30 No. 4, Mazurka in C# minor

 &  in FC (→GE)

poco ritenuto, in tempo & sempre piano in FE

poco ritenuto, a tempo & sempre piano in EE
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The  indication in bar 55 was added to FC by Chopin;  in bar 57 most probably too. This means that the 3 different indications visible in FE were also added to a text devoid of markings, probably in the stage of proofreading. Given uncertainty on the chronology of the Chopinesque corrections in FC, the basis for FE and the very FE, in the main text we provide the version of the principal source, FC. It introduces dynamic contrast, so typical of this opus. Moreover, both versions are undoubtedly authentic and can be regarded as equal.

category imprint: Differences between sources

issues: Authentic corrections of FE , Authentic corrections of FC