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Op. 50 No. 3, Mazurka in C♯ minor

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b. 45-58

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

 under or after 3rd crotchet in AF, contextual interpretation

after 3rd crotchet in FE (→EE)

under 3rd crotchet in GE
..

AI is devoid of pedalling markings in the entire fragment (until b. 91), which does not carry any information about the pedalling itself – Chopin simply did not mark it in the unfinished manuscript; consequently, we do not treat it on a par with the other variants. The  marks are placed in AF before, under or after the 3rd crotchet of the bar, yet their placement is not explicitly linked to the harmonic content of the chords, e.g. marks after the 3rd crotchet are to be found in b. 48, 54 and 56, in which the chord does not change, as well as in b. 55, in which the chord changes on the 3rd beat to E major. FE and GE do not bear traces of intervention in this respect – they reproduced the notation of AF, yet inaccurately and with tendency to delay the pedal release. In the main text we reproduce the consistent notation of GE, in which the placement of the  marks was standardised in a satisfactory manner, as far as the sound is concerned, both in the bars where the chord changes and where it does not.
B. 46-47 are discussed separately. 

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category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Inaccuracies in FE , EE inaccuracies , Inaccuracies in A

b. 46-47

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

Two-bar long pedal in AF (→FE→EE)

2 pedals in GE
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The pedalling of AF (→FE→EE) was deliberate at the time when it was being written – Chopin crossed out the  at the end of b. 46. However, he did not repeat this version in any of the analogous pairs of bars (b. 54-55, 78-79 and 86-87), which may mean that he then forwent the two-bar pedal in those places. Therefore, in the main text we give the pedalling of the principal source, i.e. GE.

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category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Chopin's hesitations , Deletions in A , Omitted correction of an analogous place

b. 50

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

..

There is a visible crossing-out of the c-a sixth on the 2nd beat of the bar in AI. Cf. b. 45-55.

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category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Corrections of AI

b. 50

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

..

The 2nd quaver in EE is an erroneous d1, most probably resulting from an oversight of a ledger line, since the notehead is slightly away from the most bottom stave line.

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category imprint: Interpretations within context; Differences between sources

issues: Errors in EE

b. 56

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

Triad in AI & AF (→FE→EE)

Sixth in GE

Our variant suggestion
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It is difficult to say whether the missing b note on the 3rd beat of the bar is an oversight or an intentional change introduced in [AG]; it cannot be excluded that it was performed while proofreading GE1 (cf. similar changes introduced at previous stages of development of the Mazurka's text). Due to the above reason, in the main text we suggest a variant solution – b in brackets.

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category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Authentic corrections of GE