Issues : Inaccuracies in A
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b. 45-58
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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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. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Inaccuracies in FE , EE inaccuracies , Inaccuracies in A |
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b. 77-88
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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Once again, like in analogous b. 45-57, the marks are placed in AF under or after the 3rd crotchet of the bar. However, their placement is not explicitly linked to the harmonic content of the chords – marks after the 3rd crotchet are to be found in, e.g. b. 77 and 79, in which the chord changes to E major on the 3rd beat (in the substantive transcription we move them under the 3rd crotchet). FE and EE standardised the position of the marks yet without taking into account harmonic changes, which must be a result of inaccuracy of the engraver. In the main text we reproduce the consistent and reasonable notation of GE. category imprint: Differences between sources issues: Inaccuracies in FE , Inaccuracies in A |
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b. 100-101
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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A comparison with other sources, as well as with the notation of both autographs in analogous b. 8-9, suggests that the hairpin is too long here in AF. Due to this reason, in the main text we suggest the notation used in an analogous place the first time, which is substantially consistent with the notation of GE1. category imprint: Differences between sources issues: Scope of dynamic hairpins , Authentic corrections of FE , Inaccuracies in A |
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b. 112
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The lack of both markings – a slur and a staccato dot – is undoubtedly Chopin's oversight in AF (→FE→EE). category imprint: Differences between sources issues: Inaccuracies in A |
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b. 114-115
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The missing slur is Chopin's oversight in AF (→FE→EE), most probably provoked by the transition to a new line. category imprint: Differences between sources issues: Inaccuracies in A |
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