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b. 267

composition: Op. 44, Polonaise in F♯ minor

in GE

cresc. - - continued in FE (→EE)
..

The absence of  in FE (→EE) could be explained by an oversight or by the fact that it was entered into [A] after [FC] had been finished. Anyways, it is highly unlikely that Chopin would have removed that indication on purpose, hence we give it in the main text. In turn, the status of the dashes marking the range of cresc. having been led to the end of the bar is unclear. It could be an inaccuracy of the copyist or of the engraver of FE; however, one could imagine a scenario in which they are an authentic alternative to  – if the proof copy of FE1 had not contained cresc. - - either, Chopin could have added it with such a range of dashes.

category imprint: Differences between sources

b. 267

composition: Op. 2, Variations, complete

Rhythm in AsI

Rhythm in Af & A (→GE→FE,EE)

Our alternative suggestion

Another our suggestion
..

In the majority of the sources, the R.H. text on the 1st beat of the bar contains a rhythmic mistake. However, we give the text in this form, since it is impossible to say which elements are written incorrectly and therefore which rhythm Chopin meant. In the main text we give the version of AsI, since it is undoubtedly authentic, rhythmically correct and natural, both aesthetically and pianistically. However, as Chopin did not repeat the version of AsI, he could have wanted to change it then. The alternative versions are two possible reconstructions of a rhythm that could have been intended by Chopin.

category imprint: Interpretations within context; Differences between sources

issues: Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 267

composition: Op. 2, Variations, complete

2 semiquavers in AsI & A (→GE→FESB)

Dotted rhythm in FE & EE
..

In the version of AsI and A (→GE→FESB) the dot prolonging g1 refers to the quaver and indicates that it should be held to c2 (actually to g1, which must be played again). In the version of FE1 and EE this dot refers to – also or only – the semiquaver, as a result of which the next note must be shortened. It is difficult to say whether the emergence of the other version in FE1 resulted from Chopin's proofreading or from the interpretation of the slightly misleading Chopinesque notation by the engraver or reviser, as in EE.

category imprint: Graphic ambiguousness; Differences between sources

issues: Authentic corrections of FE , FE revisions , Dotted or even rhythm , Inaccuracies in A

b. 267

composition: Op. 2, Variations, complete

..

In A (→GE→FE,EE) the penultimate note is prolonged to the value of a quaver, which must be a mistake in this context.

category imprint: Interpretations within context; Editorial revisions

issues: Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 267

composition: Op. 2, Variations, complete

Vertical accent in A (→GE→FE1,EE)

No mark in FESB
..

The missing vertical accent is probably an oversight by the engraver of FESB. See also the next two notes in this bar.

category imprint: Differences between sources

issues: Errors in FE