mUltimate Chopin

Op. 50 No. 3, Mazurka in C♯ minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 189-191

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

No markings in AI, AF (→FE→EE) & GE2

Pedalling in GE1
..

The pedalling markings are almost certainly an improvement introduced by Chopin in [AG] (→GE1). The absence of the marks in GE2 is probably a result of the engraver's oversight.

category imprint: Differences between sources

b. 189

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

No mark in AI & AF (→FE→EE)

Staccato dot in GE
..

The staccato dot is probably a clarification introduced into [AG] (→GE).

category imprint: Differences between sources; Corrections & alterations

b. 191-192

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

2 staccato dots in AI

3 dots in AF (→FE→EE)

5 dots in GE1

6 dots in GE2
..

The differences in the number of staccato dots do not entail a different performance, since in such a context marks over the R.H. also concern the L.H., while a missing dot over (AI) or under (GE1) a semiquaver is an inaccuracy of notation. In the main text we give the notation of GE2, which is consistent with contemporary editorial practices. 

category imprint: Differences between sources

b. 191-192

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

in AI & AF (→FE→EE)
..

 in AF is written at the end of b. 191; it undoubtedly concerns the semiquaver that closes the bar too. This is how it was interpreted in FE (→EE), in which the indication was placed – in accordance with usual practices – slightly before the semiquaver. This is the notation we give in the main text. The notation of AI resembles the one of AF, although the indication is moved slightly to the right. In turn, in GE1 the greater part of  is already in b. 192, which was revised in GE2 by placing the entire mark in b. 192, as a result of which it seems to concern only the crotchets in this bar. It cannot correspond to Chopin's intention, who would sometimes use a previous manner of placing indications within and not at the beginning of their scope.  

category imprint: Differences between sources

issues: GE revisions , Centrally placed marks

b. 192

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

..

The crossings-out visible in AI allow us to interpret the initial version of the ending: .

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes