mUltimate Chopin

Op. 50 No. 3, Mazurka in C♯ minor

Text Compare Notes Sources Description

Issues : Inaccuracies in A

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. 135-137

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

No marks in AF (→FE→EE)

Staccato dots in GE
..

The missing staccato dots on the 2nd and 3rd beats of b. 135 and 137 are most probably an inaccuracy of AF (→FE→EE) – cf. b. 11 and 103. The oversight of these marks could have provoked a manifest slurring error – see the note in the next bar.

category imprint: Differences between sources

issues: Inaccuracies in A

b. 159-160

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

No sign in AI & GE

in Af

in FE (→EE)
..

In the main text we give the  mark written in AF, in which the dynamic markings in this fragment – see the note in the previous bar – are more detailed as a whole than in GE. However, the exact range of the sign may raise doubts – its arms are of different length, while in an analogous situation in b. 167-168 a respective mark reaches the 2nd beat of b. 168 only, which seems to be more natural in this context (locally, f1 is the topmost note of the melody, suspension and syncopation). Such a range of this  mark, slightly shorter, is featured in FE (→EE), yet it may result from the engraver's inaccuracy.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Inaccuracies in FE , Scope of dynamic hairpins , Inaccuracies in A

b. 161

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

..

Both autographs are lacking in the  before the 2nd L.H. quaver (d). The inaccuracy was removed in FE (→EE), which in the case of such a patent defect could have been performed by the reviser. The correct text is also in GE.
Before e1 on the 3rd beat of the bar, all sources except for GE feature a superfluous .

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Cautionary accidentals , FE revisions , Inaccuracies in A

b. 165

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

..

AI and AF are lacking in the  lowering d to d. The patent inaccuracy was corrected in FE (→EE); it is also GE that features the correct text.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , FE revisions , Inaccuracies in A