mUltimate Chopin

Op. 30, Mazurka in D♭ major

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b. 17-19

composition: Op. 30, Mazurka in D♭ major

 to f2-a2 in FC (→GE)

 to a2-c3 in FE (→EE)
..

The differences in the range of the  hairpin could be stemming from the notation of [A] – Chopin would often write these marks inaccurately, with arms of different length. A comparison of both sources controlled by Chopin in both analogous places (here and in bars 87-89) reveals three different kinds of range, out of which one occurs twice, in FE in bars 17-19 and in FC in bars 87-89. Taking into account the fact that a mark provided with such range can be found in both places and both sources, we consider it to be most representative and give it in the main text.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , Authentic corrections of FE , Authentic corrections of FC

b. 19

composition: Op. 30, Mazurka in D♭ major

in FC (→GE)

No sign in FE (→EE)
..

The  hairpin was probably added to FC by Chopin. By contrast, in the return of the theme, in analogous bar 89, a respective mark is present only in FE (→EE).

category imprint: Differences between sources

issues: Authentic corrections of FC

b. 19

composition: Op. 30, Mazurka in D♭ major

..

In FC one can see cautionary flats to g2 and e2, added in pencil by the reviser of GE1. These marks, which we do not consider part of the text of FC, were included in GE.

category imprint: Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts

b. 23

composition: Op. 30, Mazurka in D♭ major

No accidental above  in sources

[] suggested by the editors
..

The missing , clarifying that it is the c3 major second, and not the c3 augmented second, that should be used as the top mordent note, is probably an inaccuracy by Chopin, who only occasionally clarified the pitch of auxiliary notes in ornaments with an accidental. In spite of c3, played a moment ago, the default choice in a descending minor scale is a natural seventh, in this case c3 in the D minor scale. However, it does not mean that there are no exceptions to this rule, hence the literal interpretation of the text may be regarded as an acceptable variant, particularly since the use of augmented seconds in the melody of the two previous bars may mean that the composer wanted to achieve peculiar timbre of the minor version of this phrase with the help of those intervals.

category imprint: Editorial revisions

issues: Omission of current key accidentals

b. 25-28

composition: Op. 30, Mazurka in D♭ major

2 slurs in FC, literal reading

Continuous slur in FE (contextual interpretation→EE)

2 slurs in GE
..

The slurring of the first phrase in this section is inaccurate or erroneous both in FC and FE. It concerns particularly FC, in which, when interpreted literally, the slurs are unclear and almost certainly incomplete. The slurring of FE can be easily guessed, as a result of which a corrected version of this slurring is already present in EE; in this situation, it is the version we give in the main text.
The slur added in pencil to FC in bars 27-28 comes from the reviser of GE, who considered the absence of a slur in these bars (and actually rightly so) to be a patent mistake (in FC these bars end the page, which is often conducive to oversights).

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions , Errors of FC , Inaccuracies in FC , Uncertain slur continuation