mUltimate Chopin

Op. 50 No. 3, Mazurka in C♯ minor

Text Compare Notes Sources Description

Issues : Accompaniment changes

b. 77-87

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

B in AI & AF (→FE→EE)

B1 in GE
..

In the main text we give the version of GE, in which the bass notes in b. 77, 79, 85 and 87 are placed an octave lower with respect to the remaining sources. There is no doubt that it is a Chopinesque improvement – he would use this tool on a number of occasions, e.g. in the Waltz in C Minor, Op. 64 No. 2, b. 1-2.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 87

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

Triads in AI

Sixths in AF (→FE→EE)

Sixth & triad in GE
..

The version of AI with triads is the original one, left almost certainly by inadvertence. Its traces can also be seen in AF, in which, however, Chopin changed both chords – differently than in all analogous bars – to sixths. According to us, the change of the chord on the 3rd beat of the bar could have been a mistake; therefore, in the main text we give the unequivocal version of GE, which is compliant with the remaining analogous places.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Errors resulting from corrections , Deletions in A , Accompaniment changes

b. 134

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

G without slur in AF

Rest in GE

G with slur in FE (→EE)
..

It is difficult to say which version of the 1st beat of the bar is later and whether Chopin considered any of them to be final. According to us, when the G bass note is played, it distorts the rhythmic scheme of this phrase, in which the accented quaver triplet, which is the local climax, is exposed against the L.H. rest. Chopin could have inserted this crotchet to compensate its absence in the previous bar – cf. b. 9 and 101 – later, however, in [AG] (→GE) he considered keeping the phrase's rhythm to be more important.
A similar issue can also be found in b. 139.

In FE (→EE) this G note is the starting point of a slur, which is a mistake. Moreover, the bass clef was not reintroduced here in AF (→FE→EE), which is Chopin's patent mistake.

category imprint: Differences between sources; Corrections & alterations

issues: Errors of A , Accompaniment changes , Errors repeated in FE , Errors repeated in EE

b. 138

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

Sixths in AI

3-note chords in AF (→FE→EE) & GE
..

The version of AI is original and most probably connected to the original version – except for the top voice – of the R.H. part.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 139

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

Rest in AI & FE

G in AF (→FE→EE)
..

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