Issues : Corrections in A

b. 1

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

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AI is devoid of tempo markings. Generally, there are barely 3 verbal indications in the entire AI in b. 17 and 89 and  in b. 191; therefore, Chopin apparently abandoned writing more detailed performance indications when it turned out that this autograph would not be a Stichvorlage. Due to the above reason, both here and hereinafter we generally indicate the absence of indications in AI in notes (these versions are suggested as variants only when one of the remaining sources is lacking in indications).

The crossings-out visible in AF over the beginning of the piece prove that Chopin was looking for the best indication of its tempo and character, just like in both previous Mazurkas. 

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

issues: Corrections in A , Chopin's hesitations , Deletions in A

b. 12

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

Pedalling in AF

Pedalling in FE (→EE)

Pedalling in GE

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In AF the  mark is crossed out in the place in which it is given by GE and written further, under the 3rd beat of b. 12. Therefore, we include this correction in the main text. Cf. b. 103-104. In FE (→EE) the  was placed inaccurately.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Deletions in A

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. 18-22

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

Short accents in AI (literal reading), FE (→EE) & GE

Long accents, possible interpretation of AI & AF

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The notation of the autographs does not explicitly reveal which accents were meant by Chopin in b. 18 and 22. According to us, in spite of them being similar – particularly in AF – to long accents, the marks are rather to be interpreted as short due to the rhythmic analogy with b. 20 and 24, which undoubtedly feature short accents. 

In b. 22 in AF one can see a crossed-out short accent over the chord on the 3rd beat of the bar. Both accents in AI are also placed over the chords, which, according to us, does not influence the performance in this context.

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

issues: Long accents , Inaccuracies in FE , Corrections in A , Deletions in A

b. 46-47

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

Two-bar long pedal in AF (→FEEE)

2 pedals in GE

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The pedalling of AF (→FEEE) was deliberate at the time when it was being written – Chopin crossed out the  at the end of b. 46. However, he did not repeat this version in any of the analogous pairs of bars (b. 54-55, 78-79 and 86-87), which may mean that he then forwent the two-bar pedal in those places. Therefore, in the main text we give the pedalling of the principal source, i.e. GE.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Chopin's hesitations , Deletions in A , Omitted correction of an analogous place