b. 44-45
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composition: Op. 30 No. 1, Mazurka in C minor
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The slur encompassing the sequence of thirds in bar 44 was added to FC almost certainly by Chopin. However, unlike in bars 8-9, Chopin did not shorten the top slur, which also reaches the end of the bar. According to us, the reason could have been to avoid an excessive number of deletions, hence in the main text we suggest the same notation as in bars 8-9. category imprint: Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information issues: Authentic corrections of FC |
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b. 44
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composition: Op. 30 No. 1, Mazurka in C minor
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In the main text we suggest adding a long accent after analogous bar 8. On this occasion, we use square brackets, in spite of the accent's possible presence in one of the sources – it was probably added in FED; however, the interpretation of this carelessly written element is uncertain. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions |
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b. 44
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composition: Op. 30 No. 1, Mazurka in C minor
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The version featuring b resulted from a mistake or inaccuracy by Chopin in [A] – the to the 1st third was written there in such a way that both Fontana and the engraver of FE put it before d1, where it has no purpose. It must have been b, which, however, was noticed only in EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidental below/above the note , Errors repeated in GE , Errors repeated in FE |
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b. 45
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composition: Op. 30 No. 1, Mazurka in C minor
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According to us, the dots over the L.H. crotchets are a mistake by the copyist, who possibly put the marks over the L.H. in bars 45-46 instead of in bars 46-47. The remaining three times this four-bar section appears (bars 1-4, 9-12 and 37-40), none of the sources include staccato dots in the first bar. category imprint: Differences between sources issues: Errors of FC |
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b. 49-50
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composition: Op. 30 No. 1, Mazurka in C minor
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In the main text we suggest adding staccato dots also here, since it seems that a possible change to the articulation of the chords would be right only just from bar 51. category imprint: Editorial revisions |