Issues : Errors in FE

b. 8-9

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

No slur in AI & FE (→EE)

d-G slur in AF & GE

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The absence of a separate slur for the bass voice is most probably an oversight of the engraver of FE (→EE). The slur (as well as the staccato dot over G) is also absent in AI – cf. the note in the upbeat.

category imprint: Differences between sources

issues: Errors in FE

b. 17-23

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

4 staccato dots in AI

Dots in bar 17, 19 & 21 in AF

Dot in bar 19 in FE

Dots in bars 19, 21 & 23

No marks in EE

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In the majority of the sources it is only some of the staccato dots that are present at the beginning of b. 17, 19, 21 and 23. All four dots are written – paradoxically – only in AI. This is the version we give in the main text, since nothing indicates that it could have been something other than mistakes and inaccuracies of the engravers or of Chopin himself that contributed to the creation of the other versions. It is particularly the missing mark in AF in b. 23 that could have been provoked by corrections to the layout in b. 21-23 – from the 2nd beat of b. 21 on, Chopin moved all the a notes from the bottom to the top stave (in GE the note in b. 23 is on the bottom stave and is provided with a dot). Staccato marks in all four places are present in AF in analogous b. 109-115.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Errors in FE , Corrections in A , Deletions in A , Inaccuracies in A

b. 18-21

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

No slurs in AI & FE (→EE)

Slur in bars 18-19 in AF

2 slurs in GE

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In the main text we include the slurs combining the last chord in b. 18 and 20 with the first note in the next bar. The absence of the slur in b. 20-21 must be Chopin's oversight in AF (→FEEE). See also b. 22-23.

category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE , Inaccuracies in A

b. 19-24

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

Staccato dots in bars 19, 20 & 23 in AI

Dots in bars 20 & 24 in AF

Dot in bar 24 in FE (→EE)

No marks in GE

Dots in bars 20, 23 & 24 suggested by the editors

Dots in bars 19-20 & 23-24

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At the beginning of b. 19, 20, 23 and 24, the L.H. staccato dots appear irregularly in the sources. In the main text we give both dots present in AF both here (b. 20 and 24) and in the repetition of this fragment (b. 112 and 116). In addition, these are the only places in which the indication of staccato requires a mark, since the bass note does not fall together with the R.H. note provided with a dot. In the remaining places, particularly in the situations in which the R.H. notes are written together with the L.H. on the bottom stave (b. 19 and 21), the marks over the R.H. part also refer to the L.H. Due to the fact that Chopin moved the a quaver to the top stave in b. 23 in AF, we also include the dot in this bar written in AI (in AF, it is present in analogous b. 115). Our alternative suggestion takes into consideration all dots written in these bars in the preserved autographs.

category imprint: Differences between sources

issues: Errors in FE

b. 22-23

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

No slur in AI

Slur in AF & GE

Tie to a in FE (→EE)

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Just like in b. 18-19 and 20-21, in the main text we give the slur added to the version prepared for print – AF and [AG] (→GE). The slur in FE (→EE) was placed on the side of the noteheads, which made it look like a tie of a.

category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE , Placement of markings , Tie or slur