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Op. 50 No. 3, Mazurka in C♯ minor

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Pedalling

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. 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. 

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
..

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.

category imprint: Differences between sources; Corrections & alterations

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

b. 59

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

 before 3rd crotchet in Af

 under 3rd crotchet in FE (→EE) & GE
..

Just like in the remaining similar bars (b. 45-57 and 77-88), the sources differ in the placement of the  mark, of which we make a note, in spite of the fact that it actually does not influence the performance in this bar.

category imprint: Differences between sources

b. 60

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

No pedalling in AI & GE

  in AF

  in FE (→EE)
..

The absence of pedalling markings in GE may be a result of carelessness of Chopin in [AG] or of the engraver in GE1. Therefore, in the main text we give the pedalling of AF (→FE→EE).

category imprint: Differences between sources