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b. 189

composition: Op. 22, Polonaise

..

Like in b. 45, FE repeated a  before a, the bottom note of the penultimate L.H. quaver. It is probably a result of the latest stage of proofreading of FE, since this accidental is absent both in GE and EE.

category imprint: Differences between sources

issues: Cautionary accidentals

b. 189-191

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

Long accent in AF

Short accent in FE (→EE)

in GE1

in GE2

Our alternative variant suggestion
..

The clarification of the fading out of the music before the final accent is the last of the group of the Chopinesque improvements written down most probably already in [AG] (→GE1). The fact that the mark in GE2 starts earlier is most probably a result of an arbitrary decision – a frequently applied adjustment to the rhythmic structure, which in this case is a bar.
AF features a long accent, similar to the ones in b. 174-176. However, the mark in FE is short, which probably resulted from shifting it so that it would not intersect with the g quaver stem. In turn, it is unclear whether the accent of AF and the hairpin of GE1 describe different performance concepts or simply different aspects of the same performance. Taking into account the above, in the main text we give the text of GE1; as an alternative solution we suggest a variant version based thereupon.  

category imprint: Differences between sources

b. 189

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

g1 in AI & AF (→FE→EE)

c1 in GE
..

c1 as the last quaver in the bar is almost certainly a mistake of GE. There is no reason to change the characteristic signal motif recalled here. While inserting this note, the engraver could have confused this bar with the next one. 

category imprint: Differences between sources

issues: Errors in GE

b. 189

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

g in AI

g in AF (→FE→EE)

No g in GE
..

In the main text we give the version of GE, in which the performance indications are most accurate (slur, staccato dot and  hairpin in b. 189-191). According to us, the omission of the g quaver is to be considered a continuation of the changes, which are evidenced by crossings-out and corrections visible in AI in b. 185-189.

category imprint: Differences between sources

issues: Accompaniment changes , Main-line changes

b. 189-191

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

No markings in AI, AF (→FE→EE) & GE2

Pedalling in GE1
..

The pedalling markings are almost certainly an improvement introduced by Chopin in [AG] (→GE1). The absence of the marks in GE2 is probably a result of the engraver's oversight.

category imprint: Differences between sources