mUltimate Chopin

Op. 50 No. 3, Mazurka in C♯ minor

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Issues : Corrections of AI

b. 63-64

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

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The notation of AI shows the evolution of the accompaniment in these bars. In both bars Chopin started from a typical bass-chord-chord structure, which he modified in b. 64 by replacing the last chord with a transitional F note. At the same time, he was improving the pitch of the bass notes, which he initially wrote as B and e and then moved them an octave lower (B1 and E); eventually, he left B and E. The way the changes are written is typical of drafts: gentle crossings-out or even leaving two versions with none of them having been crossed out. Therefore, it seems that they were introduced at a time when it was already known that the Mazurka had to be rewritten, hence AI could be used to write down new ideas on the go. The corrections/additions in the next three bars are of similar nature: b. 65 and 67 in the R.H., b. 66 in the L.H.
In b. 64 the same two versions that we can see in AI are also written in AF, whereby the earlier one is definitely crossed out. According to us, it proves Chopin's reduced concentration at the time of writing another autograph of the Mazurka.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes , Corrections of AI

b. 65-67

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

AF (→FE→EE) & GE (main version in AI)

Alternative version in AI
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In b. 65 and 67, there are two variant versions of the R.H. motifs in AI. Eventually, Chopin used the idea that was written first. 

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Corrections of AI

b. 66

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

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In AI one can see the deleted initial form of the accompaniment – c and 2 g-c1-e1 chords – and the added final version.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Corrections of AI

b. 139

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

Rest in AI & FE

G in AF (→FE→EE)
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It seems that both published versions of the beginning of this bar were already present in AI, in which one can see a crossing-out of the crotchet, probably G, next to the rest. It means that Chopin hesitated presumably until the very end of the work on the publishing of the Mazurka, and maybe even later. In the main text we give the version of GE, just like in b. 134, in which a similar discrepancy appears. Both bars implement the same rhythmic and melodic scheme (co-creating the entire eight-bar section), which, according to us, implies that an analogous version should apply to both places.

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

issues: Chopin's hesitations , Accompaniment changes , Corrections of AI

b. 159

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

Rest in AI

No rest in AF (→FE→EE) & GE
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In this layout, the rest in AI, although formally justified, could suggest the g note to be played by the L.H. Therefore, it seems that it could have been the reason for its removal in AF (→FE→EE). Chopin omitted it also in GE. In analogous b. 167 the rest was crossed out both in AI and AF.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Deletions in A , Corrections of AI