mUltimate Chopin

Op. 50 No. 3, Mazurka in C♯ minor

Text Compare Notes Sources Description

Issues : Accidentals in different octaves

Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

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

b. 166

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

..

In AI there is no  lowering c1 to c1, moreover, AI and AF lack a  lowering C to C. The inaccuracy of AF was corrected in FE (→EE); it is also GE that features the correct text.
Before e1 on the 3rd beat, all sources except for GE contain a superfluous .

category imprint: Interpretations within context; Differences between sources

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

b. 167

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

..

On the 2nd beat of the bar in AI, there are no naturals lowering f to f and d1 to d1. Chopin's inaccuracy is proven by an analogy with b. 159, by the presence of d both in the D major key in b. 165 and F major key starting from the 2nd beat of b. 166 and, above all, by the presence of these naturals in all the remaining sources.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Omission of current key accidentals