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b. 127-128

composition: Op. 16, Rondo in E♭ major

No slur in FE (→GE,EE)

Slur suggested by the editors
..

A comparison with similar motifs in bars 125-126 and 129-130 suggests that the missing slur is probably an inaccuracy of notation.

category imprint: Editorial revisions

b. 127

composition: Op. 16, Rondo in E♭ major

Long accent in FE (→GE)

Short accent in EE
..

A short accent in EE is a typical inaccuracy related to the dichotomous interpretation of long accents as accents (short) or diminuendoes.

category imprint: Differences between sources

issues: GE revisions

b. 127-129

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

Slur in AF (→FE)

Slur in EE

3 slurs in GE

2 slurs in GE, contextual interpretation

2 slurs suggested by the editors
..

The notation of the tenor voice slurs eventually found its shape in AF. Probably due to layout complications in b. 128, the slurring of the remaining sources is incomplete or inaccurate:

  • in FE the slur of AF was placed under the stave, probably to facilitate the drawing of the curve (we reproduce this notation in the graphic transcription – the version 'transcription');
  • in b. 127 EE continue the slur over the tenor voice, yet in b. 128 it is also the alto voice that is encompassed with it;
  • in GE, there are two slurs in the tenor voice – the continuation of the slur from the previous bars, led under the stave, and the original d-G slur in b. 128-129. It is probably a result of a later added phrase mark, perhaps only just at the stage of proofreading of GE1. The original slur, encompassing the last two notes c1-b in b. 128-129, is also preserved in the alto voice.

In the main text we give the slur of AF, completed with a slur for the alto voice, written in this autograph in analogous b. 35-37.

category imprint: Differences between sources

issues: Inaccuracies in FE , EE inaccuracies

b. 127-130

composition: Op. 44, Polonaise in F♯ minor

No slurs in GE

1 slur in FE (→EE)

2 slurs suggested by editors
..

In the main text we include the phrase mark of FE (→EE) in b. 127-128, since there are no reasons to doubt its authenticity. Moreover, we suggest adding an analogous phrase mark in the next two bars.

In the main text we follow FE (→EE) and suggest the missing phrase marks in square brackets.

category imprint: Differences between sources; Editorial revisions

issues: Authentic corrections of FE

b. 127-130

composition: Op. 44, Polonaise in F♯ minor

6 staccato dots in bars 129-130 in GE

5 dots in bars 127-128 and 4 dots in bars 129-130 in FE (→EE1)

5 dots in both in EE2 (→EE3)
..

In the main text we give 10 staccato dots after EE2. Such an articulation is an obvious addition to the articulation of our principal source, i.e. FE, in which the staccato dot over the 2nd crotchet in b. 129 was overlooked. As far as GE are concerned, it seems that both the absence of dots in b. 127-128 and the dot at the beginning of b. 129 resulted from mistakes, i.e. an oversight and a routine addition, respectively.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE