mUltimate Chopin

Issues : Annotations in teaching copies

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b. 5-13

composition: Op. 30 No. 1, Mazurka in C minor

, , in FC (→GE)

No indications in FE (→EE)

in b. 5 in FES

The contrasting dynamic indications in bars 5, 9 and 13 were most probably added to FC by Chopin, as were many other markings (e.g. dynamic hairpins or accents). However, one has to emphasise that these marks, although their shape is the same as of some undoubtedly Chopinesque ones (e.g. in the autograph of the Scherzo in B minor, Op. 31, bar 25, in the autograph of the Etude in A, Op. 25 No. 1, bars 9 and 22, in the autograph of the Etude in F minor, Op. 10 No. 9, bars 29 and 33 or in the later autograph of the Polonaise-Fantaisie, Op. 61, bar 1), are also very similar to the Fontana ones. The fact that they could have been written in Chopin's hand is indicated by, e.g. their more delicate, as if pale notation – cf. the analogous markings in the Mazurka in B minor no. 2, written certainly by Fontana.
In bar 5 was added in FES, which, to a certain extent, confirms Chopin's intention to contrast the particular theme phrases, dynamically and probably also expressively.
See also bars 37-45.

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category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES , Authentic corrections of FC

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b. 16

composition: Op. 30 No. 1, Mazurka in C minor

Fingering written into FES

No teaching fingering

The fingering, coming most probably from Chopin, is written in the hand of his pupil, Thomas Tellefsen. The same applies to all subsequent cases – see the description of FES.

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category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

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b. 21

composition: Op. 30 No. 1, Mazurka in C minor