mUltimate Chopin

Op. 30, Mazurka in D♭ major

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 43-44

composition: Op. 30, Mazurka in D♭ major

in FC

in FE (→EE)

in GE
..

The  hairpin in FC was extended by Chopin so that it ends more or less where the mark in FE (→EE) does. Both marks encompass bar 44, in which the R.H. part motifs – the two-note ending of a descending motif (in a 'strong-weak' scheme) and a rest – practically excludes the performance of a crescendo. Therefore, it refers to the L.H., particularly to its top voice. This sheds new light on the extension of the hairpin in FC – it was probably an attempt at fixing the copyist's mistake without resorting to deletions. Due to the above, in the main text we give the FE hairpin, most probably corresponding to the [A] notation.
In GE, the mark was shortened in order to avoid the rest (since the mark was referred to the R.H.).

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Errors of FC , Authentic corrections of FC

b. 47-48

composition: Op. 30, Mazurka in D♭ major

  in FC (→GE)

No signs in FE (→EE)
..

In the main text we give the   hairpins added by Chopin to FC (→GE).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FC

b. 48

composition: Op. 30, Mazurka in D♭ major

No mark in FC & FE (→EE)

Staccato dot in GE
..

In the main text we include the revision of GE, since an accidental oversight of a staccato dot in this bar seems almost certain, since it was already from bar 31 that Chopin started providing all bass notes held with pedal with dots – in FC or FE or in both (cf. bars 31-39, 49-53 and 55-56). As this rule naturally follows from the pianistic texture, the only exception in the form of the discussed bar is totally unjustified.

category imprint: Differences between sources

issues: GE revisions

b. 49-53

composition: Op. 30, Mazurka in D♭ major

1 dot in FC (→GE)

3 dots in FE (→EE)
..

In the main text we include the staccato dots in the L.H. part present in FE (→EE). There are no doubts that this kind of articulation, correlated with the pedalling, conveys Chopin's idea correctly, which cannot be said about the isolated dot in FC.

category imprint: Differences between sources

issues: Inaccuracies in FC

b. 55-56

composition: Op. 30, Mazurka in D♭ major

Staccato dots in FC & FE (→EE)

No marks in GE
..

In FC the 'd' letters belonging to the  marks blended in these bars with the staccato dots under the bass notes, which resulted in the absence of dots in GE.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FC