mUltimate Chopin

Op. 50 No. 3, Mazurka in C♯ minor

Text Compare Notes Sources Description

Issues : GE revisions

b. 177

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

Accent in AI & AF (literal reading)

Accent in AI & AF (contextual interpretation→FE→EE)

> in GE1

> above  in GE2
..

In both autographs the accent in this bar is shorter than the previous ones, although – particularly in AI – it is not entirely certain whether the difference is to be regarded as significant. Taking into account the different rhythmic value of the chord, we assume that the accent's length is correlated with it. Just like in the previous bars, the accent in AI and AF is closer to the L.H. part, which, according to us, is an inaccuracy. In the main text we reproduce the combined > marks, typical of Chopin, after GE1; the marks are an appropriate ending of the preceding crescendo. The separate accent in GE2 must be a revision.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Long accents , GE revisions

b. 185

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

No marking in AI & AF (→FE→EE)

 above > in GE1

 below > in GE2
..

 and the accent are subsequent indications belonging to the group of the indications added by Chopin in [AG] in the final fragment of the Mazurka – cf., e.g. b. 173-176, 177, 180-188. We present them as laid out in GE1, which was based directly on [AG].

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions

b. 191-192

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

in AI & AF (→FE→EE)
..

 in AF is written at the end of b. 191; it undoubtedly concerns the semiquaver that closes the bar too. This is how it was interpreted in FE (→EE), in which the indication was placed – in accordance with usual practices – slightly before the semiquaver. This is the notation we give in the main text. The notation of AI resembles the one of AF, although the indication is moved slightly to the right. In turn, in GE1 the greater part of  is already in b. 192, which was revised in GE2 by placing the entire mark in b. 192, as a result of which it seems to concern only the crotchets in this bar. It cannot correspond to Chopin's intention, who would sometimes use a previous manner of placing indications within and not at the beginning of their scope.  

category imprint: Differences between sources

issues: GE revisions , Centrally placed marks