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Op. 50 No. 3, Mazurka in C♯ minor

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b. 62

composition: Op. 50 No. 3, Mazurka in C♯ minor

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The 1st crotchet in AI is an erroneous G1.

category imprint: Interpretations within context; Differences between sources

issues: Terzverschreibung error , Errors in the number of ledger lines

b. 62

composition: Op. 50 No. 3, Mazurka in C♯ minor

a1 in AI, AF (→FE) & GE

f1 in EE
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The version of EE is a patent Terzverschreibung. Moreover, the sources differ in the number of cautionary naturals before this chord – two (a and a1) in AI and GE versus one (a only) in AF (→FE→EE).

category imprint: Differences between sources

issues: Errors in EE , Terzverschreibung error , Cautionary accidentals

b. 63-64

composition: Op. 50 No. 3, Mazurka in C♯ minor

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The notation of AI shows the evolution of the accompaniment in these bars. In both bars Chopin started from a typical bass-chord-chord structure, which he modified in b. 64 by replacing the last chord with a transitional F note. At the same time, he was improving the pitch of the bass notes, which he initially wrote as B and e and then moved them an octave lower (B1 and E); eventually, he left B and E. The way the changes are written is typical of drafts: gentle crossings-out or even leaving two versions with none of them having been crossed out. Therefore, it seems that they were introduced at a time when it was already known that the Mazurka had to be rewritten, hence AI could be used to write down new ideas on the go. The corrections/additions in the next three bars are of similar nature: b. 65 and 67 in the R.H., b. 66 in the L.H.
In b. 64 the same two versions that we can see in AI are also written in AF, whereby the earlier one is definitely crossed out. According to us, it proves Chopin's reduced concentration at the time of writing another autograph of the Mazurka.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes , Corrections of AI

b. 64-65

composition: Op. 50 No. 3, Mazurka in C♯ minor

F-G slur in AI

E-G slur in AF (→FE→EE)

No slur in GE
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In the main text we include the slur of AF (→FE→EE) that emphasises the bass line. The absence of the mark seems to be an oversight of the engraver of GE1 or even of Chopin in [AG]. The shorter slur in AI presents a primitive, sketchy version. It is anyway the only L.H. slur on this page of AI (b. 57-152).

category imprint: Differences between sources; Corrections & alterations

b. 64-66

composition: Op. 50 No. 3, Mazurka in C♯ minor

Pedalling in AF

FE

EE

GE
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Just like in the preceding four bars, in the main text we follow the version of AF. In FE and EE it was reproduced with minor inaccuracies concerning the placement of the pedal release mark, out of which only the shift of  in b. 64 in FE (erroneous) has an actual influence on the performance. A perceptible difference in sound also appears in b. 65, in which the longer pedal of GE may be considered an equal variant.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE