mUltimate Chopin

Op. 50 No. 3, Mazurka in C♯ minor

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Pedalling

b. 61-63

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

 after 3rd crotchet in AF (→FE)

 under 3rd crotchet in GE & EE
..

Small differences in the placement of the  marks are of no practical meaning in this context. In the main text we reproduce the notation of AF (→FE), perhaps more accurate in this fragment – cf. b. 60. EE are lacking in the  mark in b. 63, which is most probably a mistake related to the transition to a new page; we consider neither this version nor the absence of pedalling in AI to be a variant.

category imprint: Differences between sources

issues: Errors in EE , EE inaccuracies

b. 64-66

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

Pedalling in AF

FE

EE

GE
..

Just like in the preceding four bars, in the main text we follow the version of AF. In FE and EE it was reproduced with minor inaccuracies concerning the placement of the pedal release mark, out of which only the shift of  in b. 64 in FE (erroneous) has an actual influence on the performance. A perceptible difference in sound also appears in b. 65, in which the longer pedal of GE may be considered an equal variant.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE

b. 68-69

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

Pedal in bar 68 in AF (→FE→EE)

Pedal in bars 68-69 in GE
..

In the main text we give the pedalling markings of AF (→FE→EE) due to the Chopinesque correction of the 3rd beat of b. 69 in FE. However, it seems that even in the case of choosing the version of FE, it is possible to hold the pedal on the first two beats of this bar, the way it was written in GE.

category imprint: Differences between sources; Corrections & alterations

b. 75-76

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

No pedalling in AI

 in AF & EE

     in FE

  in GE

Our variant suggestion
..

The missing  mark in AF is probably an inaccuracy; Chopin wanted both bars to be performed with one pedal, which is confirmed by a  mark added – probably by the composer – in the proofreading stage of FE. In the main text, we leave the choice of one of the versions – FE or GE – to the discretion of the performer.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Authentic corrections of FE , No pedal release mark

b. 77-88

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

 under or after 3rd crotchet in AF, contextual interpretation

after 3rd crotchet in FE (→EE)

under 3rd crotchet in GE
..

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.
B. 86-87 are discussed separately.
AI is devoid of pedalling markings here. 

category imprint: Differences between sources

issues: Inaccuracies in FE , Inaccuracies in A