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b. 125-126
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composition: Op. 44, Polonaise in F♯ minor
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The slurring was most probably changed by Chopin in the basis for FE together with the matching system of beams. However, the new, longer phrase mark was reproduced inaccurately in FE – the ending of the phrase mark in b. 126, at the end of the page (like in our transcription), suggests that it should be continued in the next bar, in which, however, there is no ending of that phrase mark. We consider the a crotchet in b. 127, which ends the phrase, having been left outside the phrase mark to be a mistake; therefore, in the main text we lead the phrase mark to that note. category imprint: Graphic ambiguousness; Differences between sources |
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b. 125
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composition: Op. 44, Polonaise in F♯ minor
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From this bar on, the hitherto homogenous (in spite of numerous inaccuracies) articulation markings change. In particular, the hitherto consistently kept difference between the range of the slurs of GE and FE is reduced in favour of shorter slurs. In FE the shorter slurs are accompanied by no staccato dots over the a1 quavers, hence it is likely that we are not dealing with inaccuracies (cf. subtle changes in articulation in the ending of the Etude in A minor, Op. 25 No. 4, b. 62). As the text of GE is identical, we give this version in the main text. In EE the slurs were prolonged after the previous bars in FE (→EE). category imprint: Differences between sources issues: EE revisions |
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b. 125
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composition: Op. 44, Polonaise in F♯ minor
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According to us, the category imprint: Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 125
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composition: Op. 23, Ballade in G minor
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There is a category imprint: Differences between sources issues: Errors in GE |
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b. 125
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composition: Op. 23, Ballade in G minor
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It is unclear whether sempre (più animato) was overlooked or removed by FE (→GE,EE). In the main text, however, we give this version, since it seems that it continues the direction of the agogic changes of the section that begins here; the changes were initiated already in A – see the note in b. 136. category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE |
in 
), most probably target, a common prolongation of the diminuendo by a fraction of a bar seems to be insignificant, hence it is highly unlikely that Chopin could have written it down in such a form. Due to the above reason, we suggest two possible interpretations of this mark, which are, according to us, more likely in this context.
before the 5th quaver in 
