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b. 186
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composition: Op. 22, Polonaise
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Like in b. 42, of which the discussed bar is a literal repetition, the missing e category imprint: Differences between sources issues: EE revisions |
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b. 186-188
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composition: Op. 31, Scherzo in B♭ minor
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According to the editors, the staccato dots over the initial quavers in b. 186 and 188 may be an original version. It is indicated by the dots cancelled in FC in the analogous b. 54 and 56, and the absence of dots in FE (→EE), both here and in analogous b. 637 and 639, which points to their deletion during the proofreading of FE. Taking this into account we omit these dots in the main text. They were also omitted in GE2, presumably in line with the analogous b. 54 and 56. GE3 restored the FC version. See also b. 193-195. category imprint: Differences between sources issues: GE revisions , Authentic corrections of FE |
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b. 186-189
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composition: Op. 44, Polonaise in F♯ minor
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In accordance with the explanation in the note to b. 127, in the main text we suggest adding slurs (in square brackets) after analogous bars 127-128, 147-148 and 208-209. We also add staccato dots (see the adjacent note). category imprint: Editorial revisions |
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b. 186-189
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composition: Op. 44, Polonaise in F♯ minor
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In accordance with the explanation in the note to b. 127, in the main text we suggest adding articulation markings (in square brackets) after b. 127-130 and 147-148. We also add slurs (see the adjacent note). category imprint: Editorial revisions |
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b. 186-188
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composition: Op. 44, Polonaise in F♯ minor
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In the entire middle section, each time this theme appears, the grace notes go with the R.H. melody (cf. b. 129, 148-149, 206-208), hence we follow here GE, considering the version of FE2 (→EE) to be a an inept revision. category imprint: Differences between sources issues: EE revisions , FE revisions |
1 in 
1-b1 in 
