mUltimate Chopin

Issues : Accompaniment changes

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b. 140

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

e-a in AI, AF, GE & EE

e-c¹ in FE

In the main text we give the sixth of FE, introduced by Chopin in the last stage of proofreading instead of a fourth, present in the remaining sources. One can see traces of a correction in the copies of FE.

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category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE

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b. 171-172

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

AI version

AF (→FE)

Same with a² in EE

Without access to [AG], it is impossible to determine whether and which version Chopin considered to be final. The general concordance between AI and GE suggests that this version was created first; however, even if it was the case, it does not mean that an alternative idea – the version of AF – was already the final word, since there are numerous examples, supported by sources, of returns to original versions, which was poignantly described by George Sand. Therefore, having a choice between two equal authentic versions, in the main text we give the text of GE, which is the principal source adopted for the entire op. 50.

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category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes , Enharmonic corrections

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b. 189

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

g in AI

g in AF (→FE→EE)

No g in GE

In the main text we give the version of GE, in which the performance indications are most accurate (slur, staccato dot and hairpin in b. 189-191). According to us, the omission of the g quaver is to be considered a continuation of the changes, which are evidenced by crossings-out and corrections visible in AI in b. 185-189.