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b. 37-45
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composition: Op. 30 No. 1, Mazurka in C minor
..
As in bars 5-13 (and with similar doubts), the dynamic markings at the beginning of the subsequent four-bar sections (bars 37, 41 and 45) were entered into FC probably by Chopin. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Authentic corrections of FC |
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b. 38-48
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composition: Op. 30 No. 1, Mazurka in C minor
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Upon the return of the main Mazurka theme (bars 38-40 and 46-48) staccato dots for the accompaniment crotchets appear in FE (→EE) much less regularly than in bars 2-4 and 10-12, while in FC (→GE1) to a slightly greater extent than the first time:
Regardless of the reasons for these discrepancies and irregularities, a comparison with the initial section of the piece, in which FE include dots next to 22 out of 24 crotchets, proves that Chopin wanted to indicate the same articulation also here; however, he did it inaccurately. Taking into account the above, in the main text we provide all the discussed crotchets with dots. category imprint: Differences between sources; Editorial revisions |
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b. 41
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composition: Op. 30 No. 1, Mazurka in C minor
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In FC (→GE) there is no category imprint: Interpretations within context; Differences between sources issues: Errors of FC , Errors repeated in GE |
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b. 43
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composition: Op. 30 No. 1, Mazurka in C minor
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In a different situation, the category imprint: Graphic ambiguousness; Differences between sources issues: Scope of dynamic hairpins , Authentic corrections of FC |
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b. 43
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composition: Op. 30 No. 1, Mazurka in C minor
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The naturals to the L.H. octave on the 2nd beat of the bar are missing in FC – the visible pencilled naturals were added by the reviser of GE1. It is difficult to say whether it is an oversight by Fontana or by Chopin in [A]. All editions contain the correct text. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Foreign hand additions in manuscripts , Errors of FC |
,
,
raising a
1 to a1 on the last quaver in the bar. According to us, the mistake could have already been committed by Chopin in [A]. It is indicated by overlooked naturals also in bar 43 – two oversights of the very naturals to a notes seem highly unlikely for a copyist; however, they are not unusual in Chopin's autographs, who would often mark alterations only the first time a given note appears in a bar.
in 