Issues : Chopin's hesitations

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. 8-9

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

New slur from 2nd quaver in AI & GE

New slur from 1st quaver in AF, literal reading

Overlapping slurs in FE (→EE)

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In AF both the ending of the slur in b. 8 and the beginning of the slur in b. 9 are written inaccurately, as a result of which each of the given versions may be considered an interpretation of this notation. According to us, the latter is to be interpreted as beginning from the 1st quaver of the bar, which is indicated by the similar yet more accurate versions of notation of AI and AF in analogous b. 100-101 (in AF the version prior to combining the slurs). To the main text we adopt the version of FE, perhaps proofread by Chopin (the first slur having been extended). The version of AI and GE may be considered an equal variant.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccurate slurs in A , Chopin's hesitations , Authentic corrections of FE

b. 28

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

d1 in chord in AI & GE

No d1 in AF (→FEEE)

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The missing d1 minim in AF could be considered Chopin's hesitation: in AI it seems that the note was added to the g1-b1 third. It is also included in GE, based on [AG], which may be later. However, in analogous b. 120 a respective note is present in all sources, which may point towards the composer's oversight in the discussed place.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Errors of A

b. 45-57

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

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On the basis of AI one can see that Chopin hesitated whether to write the B major section (from b. 45) using a 4- or a 5-sharp key signature. It is proven by the following actions: a new key signature was added in b. 45 and 57, then the sharps of A and a1 were removed in both places, while the sharps before the a notes in b. 50 and 52 (as well as in 61 and 74) were crossed out and then reintroduced. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Chopin's hesitations , Last key signature sign , Corrections of AI

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