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Op. 50 No. 1, Mazurka in G major

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b. 82

composition: Op. 50 No. 1, Mazurka in G major

b1 in A1 (→FE)

b1 in GE & EE
..

It is difficult to determine Chopin's final intention here. The authenticity of both versions is likely yet not absolutely certain: Chopin could have committed a mistake while writing a  before b1 in A1, while the  in GE1, inserted in print instead of a , could have been a result of Chopin's proofreading but also of the reviser's work, as EE show. In the main text we adopt the musically most natural version of the principal source (GE1); in turn, we consider the version of A1 (→FE) to be an equal variant.  

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Authentic corrections of GE

b. 92

composition: Op. 50 No. 1, Mazurka in G major

..

There is a visible deletion at the beginning of the bar on the top stave in A1. It was most probably the original version in the form of the f1-c2 fifth.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 94-97

composition: Op. 50 No. 1, Mazurka in G major

..

Chopin performed changes to the R.H. part notation in A1, which is proven by 3 deletions each in b. 94 and 97 and one in b. 95. Below a possible reconstruction of the original notation:
.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 96

composition: Op. 50 No. 1, Mazurka in G major

f1-c2 in A1 (→FE→EE)

g1-c2 in GE
..

In the main text we give the version of GE, which is almost certainly an improvement introduced by Chopin in [A2]. At the beginning of analogous b. 92, the delay was introduced – contrary to a similar procedure in b. 90-91, 94-95 and 98-99 – only just in the phase of proofreading of A1. Therefore, it can be said that the version of GE ends both the improvement and the unification processes of the harmonic course of the final section of the Mazurka. It cannot be ruled out that the absence of a corresponding correction in the discussed bar in A1 is an example of an overlooked correction of an analogous place, which is often encountered in Chopinesque sources. However, we consider the version of A1 to be an almost equal variant, since due to the absence of a corresponding correction in FE, there is no proof that Chopin considered the change in [A2] to have definitively replaced the original version. 

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Omitted correction of an analogous place