mUltimate Chopin

Op. 50 No. 3, Mazurka in C♯ minor

Text Compare Notes Sources Description

Issues : Long accents

b. 98

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

 in AF, literal reading

Long accent in FE & GE

Short accent in EE
..

We reproduce the mark in AF, longer than in b. 94, as a  hairpin, in spite of the fact that the arguments put forward there remain in force also here – the mark must have been meant as a long accent, which we, hence, give in the main text. FE feature a long accent in b. 98 and another accent or a hairpin in b. 99, which results from the transition to a new page in this edition.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , EE revisions

b. 99

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

No marking in AI & GE

continued in AF

in FE

Accent in EE
..

The mark in this bar is a continuation of the  hairpin (long accent) from the preceding bar, which falls at the end of the page in FE (→EE). EE feature here a short accent, like in the preceding bar. In the main text we give the version of GE, which do not contain any mark in this bar (after the long accent in b. 98). 

category imprint: Differences between sources

issues: Long accents , EE inaccuracies

b. 109

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

Long accent in AF, contextual interpretation

in FE (→EE)

Shifted short accent in GE1

Short accent in GE2
..

The accent in AF is quite short in this bar, hence it is its shape and context that make us consider it a long accent. The presence of a significantly longer mark in FE (→EE) – such as in analogous b. 17 – points to a possible intervention of a reviser or perhaps Chopin himself. A change performed on Chopin's order would confirm the mark to be a long accent. The mark in GE1 was placed inaccurately, so it is not entirely certain which beat of the bar it concerns.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE , Authentic corrections of FE

b. 110-114

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

Long accents in AF, literal reading

Short accents in FE (→EE) & GE
..

In b. 110 and 114 Chopin initially wrote short accents over the R.H. chords in AF; eventually, he wrote the marks between the staves. However, the new marks are longer and narrower, which makes them resemble long accents. According to us, Chopin could have adjusted the font of the marks to the small space between the chords of both hands. We consider both interpretations to be possible, yet to the main text we choose short accents, compliant with those present in rhythmically analogous b. 112 and 116. 

category imprint: Differences between sources

issues: Long accents

b. 111

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

Short accent in AF (literal reading→FE→EE) & GE

Long accent in Af, contextual interpretation
..

Just like in b. 19, the notation of AF is inconclusive as to which type of accent was meant here by Chopin. According to us, due to Chopinesque proofreading of analogous b. 115, a long accent is more likely. However, we recommend a short accent as an alternative solution.

category imprint: Graphic ambiguousness

issues: Long accents