Issues : Authentic corrections of FC
b. 17-19
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composition: Op. 30, Mazurka in D♭ major
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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 |
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b. 19
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composition: Op. 30, Mazurka in D♭ major
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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 |
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b. 27-28
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composition: Op. 30, Mazurka in D♭ major
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The absence of pedalling in FC (→GE) could be caused by the same issue as the absence of the R.H. slur – distraction at the end of a page. Another possibility could be an oversight by Chopin, who was adding pedalling to FC – starting from bar 29, which opens a new page in FC, the pedal markings are written in Chopin's hand (to bar 39). category imprint: Differences between sources; Source & stylistic information issues: Errors of FC , Authentic corrections of FC |
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b. 30
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composition: Op. 30, Mazurka in D♭ major
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In FC Chopin deleted all three L.H. chords written by Fontana and replaced them with new ones. The reason was a mistake by the copyist, who wrote g as the bottom note of the chords thrice (instead of f). category imprint: Corrections & alterations; Source & stylistic information issues: Errors of FC , Authentic corrections of FC |
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b. 31-39
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composition: Op. 30, Mazurka in D♭ major
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In the main text we include the staccato dots under the bass notes in bars 31-32, 35-36 and 39, visible in FC (→GE). The fact that the marks correlate with the pedal markings added by Chopin allows us to assume that it was also him that wrote the dots. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FC |