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Op. 50 No. 3, Mazurka in C♯ minor

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b. 38

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

..

In AI there is no  restoring f1 at the end of the bar. The remaining sources have the correct text.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration

b. 39-42

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

Slur in bars 39-41 in AI

Slur in bars 40-41 in AF

No slur in FE (→EE)

Slur in bars 39-42 in GE

Our alternative suggestion
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In the main text we give the AF slur indicating the a1-b1 step between b. 40 and 41 as the end of the tenor voice. The GE slur, which must also be authentic, since it is actually identical with the AI slur, can be considered an equal variant. Alternatively, we additionally suggest a slur binding the elements of both source versions that can be combined in a way that would make sense.

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE

b. 39-41

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

No slur in sources

Slur suggested by the editors
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In the main text we give the slur of AF from analogous b. 131-133. The absence of the slur was most probably caused by distraction related to the transition into a new line; Chopin also overlooked the ending of the tenor voice slur.

category imprint: Editorial revisions

b. 41-44

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

in AF, GE & EE

  in FE
..

The  asterisk is only in FE, which almost certainly means that Chopin added it in the last stage of proofreading of this edition. AI does not feature any pedalling markings in this fragment.

category imprint: Differences between sources

issues: Authentic corrections of FE , No pedal release mark

b. 44-45

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

Double bar line in AI & AF (→FE→EE)

Single bar line in GE
..

According to us, the double bar line in AI is a trace of change of the key signature for it to correspond to the key of B major; a trace that was left by inadvertence. It is indicated by the absence of such a bar line in GE – Chopin apparently considered it superfluous while writing [AG], in spite of the fact that a new section of different nature begins here. In this situation, the double bar line in AF (→FE→EE) may be explained by the composer's distraction at the time of copying the Mazurka – a reassessment of this issue, although possible, seems to be less likely.

category imprint: Differences between sources