mUltimate Chopin

Op. 30, Mazurka in D♭ major

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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

b. 40-41

composition: Op. 30, Mazurka in D♭ major

Slur from b. 40 in FC (→GE)

Slur from b. 41 in FE (→EE)
..

In FC the initial fragment of the slur, over bar 40, was added probably by Chopin. Therefore, we regard this version as a Chopinesque improvement and give it in the main text.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FC

b. 41

composition: Op. 30, Mazurka in D♭ major

b. legato in FC

ben legato after FE (→EE)

legato in GE

ben legato suggested by the editors
..

The ben legato indication visible in FE (→EE) under the L.H. part is most probably a Chopinesque explanation of the vague abbreviation b. legato used in FC, which in GE – probably due to uncertainty as to its meaning – was replaced by legato. In the main text we move this indication – in the form used in FE – over the L.H. part, since it is particularly the two top voices in the chords that can be performed legato.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of FE , Inaccuracies in FC

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