Op. 50 No. 3, Mazurka in C♯ minor

  b. 171-172

		AI version
		AF (→FE)
		Same with  a2 in EE
		GE

As far as the perception of the difference between the two versions of this place is concerned, it poses one of the most significant editorial problems in the entire op. 50. Without access to [AG], determining whether and which version Chopin considered to be final seems impossible. However, the analysis of AI provides certain suggestions regarding the chronology of both versions. Generally compliant with GE, the notation of AI, on closer inspection, reveals that it was most probably another version that was initially featured there – the version of AF:

• the R.H. bottom voice crotchet on the 2nd beat of b. 171 is written as a¹, which is not justified if the next note is supposed to be a¹ (cf. the L.H. part in b. 164 and 170). In the notation of [AG] (→GE), which is later and definitely more elaborate, Chopin wrote it as b¹;
• the 3rd beat of b. 171 initially featured c², which was then hidden under the  restoring a¹ after a¹, which constitutes another and most distinct trace of the version of AF;
• in b. 172 the  raising b¹ to b¹ is written twice, on the 1st and 2nd beats of the bar. Chopin would sometimes unnecessarily repeat accidentals even in finished autographs (cf., e.g. b. 168), yet the easiest explanation for this is the fact that the  before the 1st chord was written later, which means that the note it concerned was originally b¹.
• the a¹ note in this chord, not encompassed with a stem, could have also been added later.

Therefore, it is likely that it was already at the stage of AI that Chopin had two versions of this place and considered the version of GE to be better than the one of AF. However, the decision was not final, since he returned to the rejected version in one of the Stichvorlagen. As a result, one can conclude that Chopin considered both versions to be worthy of publication to the very end. The only reason we give the version of GE in the main text is that this is the edition we adopt as the principal source for the entire op. 50.

Compare the passage in the sources »

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations, Accompaniment changes, Enharmonic corrections

notation: Pitch

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