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Op. 50 No. 3, Mazurka in C♯ minor

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b. 84

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

Fifth in AI & GE

Three-note chord in AF (→FE→EE)

Our variant suggestion
..

Like in b. 56, it is difficult to determine which of the versions Chopin considered to be final. Assuming that the version of AF was written later, one can consider the unification of b. 52 and 84 to be Chopin's final decision, particularly since there is no reason why they should be different. On the other hand, Chopin wrote in AF – apparently due to distraction – the original versions of b. 82 and 85 (then corrected), which gives no certainty as to the version of the discussed bar, since the version of b. 52 could have been entered here by mistake. Due to the above reason, in the main text we suggest a variant solution with f in brackets.

category imprint: Differences between sources; Corrections & alterations

b. 84

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

..

The cautionary natural before e1 was added in the first stage of proofreading of FE (→EE). It does not appear in the remaining sources.

category imprint: Differences between sources

issues: FE revisions

b. 85-87

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

Crotchets in AI

Quavers in AF (→FE→EE) & GE
..

The melodic variants in b. 85 and 87 of the motif opening the majority of the phrases of this theme were introduced only just at the stage of writing Stichvorlage autographs. Such a diversification of recurring motifs is typical of Chopin and would frequently appear in the final stages of shaping particular pieces, cf., e.g. the Mazurka in G Minor, Op. 24 No. 1, b. 57 and 59.
The layout of the melody's notes in b. 85 in AF shows that the a1 quaver was added there to the g1 note, which was initially a crotchet. At the same time, Chopin forgot about the  before this note, which was corrected in FE (→EE).

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Main-line changes

b. 87

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

Triads in AI

Sixths in AF (→FE→EE)

Sixth & triad in GE
..

The version of AI with triads is the original one, left almost certainly by inadvertence. Its traces can also be seen in AF, in which, however, Chopin changed both chords – differently than in all analogous bars – to sixths. According to us, the change of the chord on the 3rd beat of the bar could have been a mistake; therefore, in the main text we give the unequivocal version of GE, which is compliant with the remaining analogous places.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Errors resulting from corrections , Deletions in A , Accompaniment changes

b. 88

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

Fourth & triad in AI & GE

Sixths in AF (→FE→EE)

Fourth & sixth, our alternative suggestion
..

The d1 note on the 2nd beat of the bar seems to be Chopin's mistake in AF, since all analogous places feature b, which does not hamper the performance of the R.H. part (in AI Chopin would cross out even the d1 notes in b. 48 and 54). In turn, the sixth on the 3rd beat of the bar may be intentional – cf. b. 56, in which there is a sixth in a similar context, before the change of the bass note to G. Due to the above reason, we suggest a variant version with b in brackets as an alternative.

category imprint: Differences between sources

issues: Errors of A