Op. 50 No. 3, Mazurka in C♯ minor

The significant number of textual differences rules out the possibility of GE1 having come from any of the remaining sources. Therefore, the Stichvorlage must have been the currently lost manuscript, i.e. an autograph or a copy corrected by Chopin. The quite numerous small differences in, e.g. the layout, the range of slurs or hairpins point rather to the second autograph, hence we designate that alleged Stichvorlage by the symbol [AG].

A number of differences between GE1 and AF bears traces of Chopinesque improvements, others are rather equal variants, and in several places, it is the markings of AF that seem to be more accurate. According to us, the above differences already originate from the notation of [AG], although some of the changes could have been introduced in the Chopinesque proofreading of GE1. Characteristic examples illustrating each of the above situations are given in the description of AF. Among other differences, one can mention:

• GE1 lacking in the mezza voce indication at the beginning of the Mazurka, the L.H. accent in b. 2, pedalling in b. 30-31, dynamic hairpins in b. 61, 76-77, 88,  in b. 93,  and  in b. 150 and 152-153;
• AF lacking in the arpeggio in b. 16 and analog., the slur in b. 19-20, the  marks and pedalling in b. 25-29, cresc. in b. 173-176;
• rhythm of the 1st beat in the L.H. in b. 20 and 24 – it is GE1 that features a later, simpler version;
• 3rd L.H. crotchet in b. 56 – AF features a chord, GE1 – a sixth;
• dynamic hairpin in b. 120-122 – longer  in AF;
• accompaniment in b. 134 and 139 – with G played at the beginning of the bar in AF, without these crotchets in GE1;
• dynamic indications in b. 158-161 and 166-169 – more detailed in AF;
• pedalling in b. 149-154 – AF features shorter pedals;
• different harmonic versions of b. 171-172.

Due to numerous improvements, and in order to keep the editorial principles uniform in the whole Op. 50 we adopt GE1 as the principal source.