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Op. 50 No. 3, Mazurka in C♯ minor

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b. 134-135

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

in AF

in FE (→EE)

No sign in GE

() suggested by the editors
..

The change of the range and position of the  hairpin in FE (→EE), although minor, is yet important – the mark of FE seems to concern the R.H. bottom voice, which does not result from the Chopinesque notation. According to us, it refers to the R.H. top voice, yet due to the notation without spaces between the great staves, its placement over this voice would be misleading – it could be interpreted as a mark under the L.H. part in b. 119. Taking into account the not entirely precise notation, in the main text we include a  in a variant form.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in FE

b. 134-136

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

Upper part, notation in AF

Upper part, notation in FE

Upper part, notation in GE

Upper part, notation in EE
..

In b. 134 and 136, the Chopinesque manner of writing stems always on the right-hand side of the noteheads contributed to an incomprehensible reproduction of the two-part notation of AF by the engraver of FE and, consequently, the totally erroneous notation of EE. In the main text we give the simplest and probably the latest notation introduced by Chopin in [AG] (→GE).
Similarly in b. 138-140.

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

issues: EE revisions , Inaccuracies in FE , Corrections in A , Errors resulting from corrections , FE revisions , Inaccuracies in A , Partial corrections

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. 134-135

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

..

In FE (→EE) the slur over the L.H. part starts already from the 1st crotchet in b. 134. It must be a result of misinterpretation of the notation of AF, in which the slur over the three chords encompasses them with plenty of margin. Moreover, in FE this slur reaches only the 3rd crotchet in b. 134, in spite of the fact that its ending is present in b. 135 – on a new line.
This inaccuracy was repeated in EE. See the previous note concerning the 1st beat of the bar.  

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Uncertain slur continuation , Errors repeated in EE

b. 134-140

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

3 long & 2 short accents in AF

5 short accents in FE (→EE)

5 long accents in GE
..

In AF the accents in b. 139-140 are clearly shorter than the three previous ones in b. 134, 136 and 138, hence we reproduce them as short. However, if we were to compare them to the distribution of the notes, it would turn out that they are actually the same length – each reaches more or less the middle of the triplet. Therefore, it is most likely that Chopin meant all of them to be long accents, the way it is clearly shown in GE.

category imprint: Differences between sources

issues: Long accents