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b. 128
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composition: Op. 22, Polonaise
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The fact that the version of FE (→EE1) is erroneous is proven by:
The change of this note to d was introduced in GE and – probably on the basis thereof – in EE2. The issue concerning the extension of this note – see the note above. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Errors in FE , Terzverschreibung error , GE revisions |
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b. 128
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composition: Op. 22, Polonaise
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In the previous bar Chopin extended the bass d note with an additional crotchet stem. This suggests that the absence of such an extension in the discussed bar may be an oversight. Therefore, we suggest an appropriately completed version as an alternative solution. In the main text, however, we preserve the d note as a quaver, since the same difference in duration – crotchet in b. 127 and quaver in b. 128 – is present in the cellos part, which shows that the rhythmic value and function in the phrase of each of these notes were different in Chopin's mind. See the note below. category imprint: Editorial revisions |
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b. 128-131
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In AF b. 129 opens a new line, and the slur that starts at the beginning of this bar does not match the slur at the end of b. 128, which suggests continuation. The continuous slur in FE is one of possible interpretations, yet a comparison with analogous b. 37 shows that Chopin probably meant the slurs to coincide, which we give as the main text. The fact that the slur beginning in b. 129 is absent in GE is either an earlier version written in [AG] or a mistake of the engraver. category imprint: Graphic ambiguousness; Differences between sources |
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b. 128-130
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we give the pedal markings of our principal source, i.e. FE (→EE), typical of Chopin. As Chopin did not repeat those pedal markings in further, analogous places, the indications of GE, almost certainly authentic, can be considered an equivalent variant. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 128-129
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composition: Op. 23, Ballade in G minor
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Both the range of the dashes marking the range of cresc. having been shortened and them having been overlooked resulted from inaccuracies by the engravers of GE1 and GE1a, respectively. category imprint: Differences between sources |
seventh of the ninth chord without prime (from the previous bar) in the piano part, natural in this context;
mark in b. 128, which does not influence the meaning of the markings.
