mUltimate Chopin

Op. 50 No. 3, Mazurka in C♯ minor

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b. 38

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

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In AI there is no  restoring f1 at the end of the bar. The remaining sources have the correct text.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration

b. 45-55

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

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In b. 45, 47, 48 and 53-55, there are visible traces of corrections of the chords on the 2nd or 3rd beat of the bar in AI. In each case Chopin removed one note from the originally written f-b-d1 triad – b in b. 45, 47, 53 and 55 and d1 in b. 48 and 54. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Omitted correction of an analogous place , Corrections of AI

b. 45-57

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

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On the basis of AI one can see that Chopin hesitated whether to write the B major section (from b. 45) using a 4- or a 5-sharp key signature. It is proven by the following actions: a new key signature was added in b. 45 and 57, then the sharps of A and a1 were removed in both places, while the sharps before the a notes in b. 50 and 52 (as well as in 61 and 74) were crossed out and then reintroduced. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Chopin's hesitations , Last key signature sign , Corrections of AI

b. 50

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

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There is a visible crossing-out of the c-a sixth on the 2nd beat of the bar in AI. Cf. b. 45-55.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Corrections of AI

b. 50

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

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The 2nd quaver in EE is an erroneous d1, most probably resulting from an oversight of a ledger line, since the notehead is slightly away from the most bottom stave line.

category imprint: Interpretations within context; Differences between sources

issues: Errors in EE