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b. 81-88
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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There is no slur over b. 81-88, written in the margin of AF. It is probably Chopin's oversight, although it is also likely that the composer was afraid that a slur could have hampered the interpretation of the notation on the added staves (by hand). Anyway, there is no doubt that the added fragment was also supposed to be included in the slur encompassing b. 80 and 89, written on the main staves. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , Errors resulting from corrections |
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b. 82-85
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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There are visible crossings-out of the original versions of the 2nd crotchet in b. 82 and 85 in AF. It is another clue that Chopin was distracted while writing this fragment (b. 81-88 were initially overlooked and then added on the staves drawn in the side margin). category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 84
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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Like in b. 56, it is difficult to determine which of the versions Chopin considered to be final. Assuming that the version of AF was written later, one can consider the unification of b. 52 and 84 to be Chopin's final decision, particularly since there is no reason why they should be different. On the other hand, Chopin wrote in AF – apparently due to distraction – the original versions of b. 82 and 85 (then corrected), which gives no certainty as to the version of the discussed bar, since the version of b. 52 could have been entered here by mistake. Due to the above reason, in the main text we suggest a variant solution with f category imprint: Differences between sources; Corrections & alterations |
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b. 84
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The cautionary natural before e1 was added in the first stage of proofreading of FE (→EE). It does not appear in the remaining sources. category imprint: Differences between sources issues: FE revisions |
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b. 85-87
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The melodic variants in b. 85 and 87 of the motif opening the majority of the phrases of this theme were introduced only just at the stage of writing Stichvorlage autographs. Such a diversification of recurring motifs is typical of Chopin and would frequently appear in the final stages of shaping particular pieces, cf., e.g. the Mazurka in G Minor, Op. 24 No. 1, b. 57 and 59. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Main-line changes |
in brackets.
before this note, which was corrected in