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b. 200

composition: Op. 22, Polonaise

Grace note in FE

No grace note in EE & GE
..

In FE this bar is identical to b. 56. The version of EE and GE is most probably an earlier version of this place, changed by Chopin in the last stage of proofreading of FE.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 200-206

composition: Op. 44, Polonaise in F♯ minor

..

The prototype of these bars – to the 1st beat of b. 206 – is the first phrase of AImaz, a draft autograph constituting an additional source of the Polonaise. In this autograph, the fragment is written down half a tone lower, in E major with modulation to B major, not having been transferred to a higher octave in b. 202. In the notes discussing the text of AImaz, we give the pitch after transposition to the key of the respective bars of the Polonaise (half a tone higher).
Further on, AImaz corresponds to b. 220-243 of the final version. 

category imprint: Corrections & alterations; Source & stylistic information

b. 200-203

composition: Op. 2, Variations, complete

No octaves in AsI

Octaves in A (→GE→FE,EE,FESB)
..

As in bars 128-131, in A the L.H. octaves are written down in an abridged manner with the use of con 8va. In the editions the octaves were written out in full. The absence of this indication in AsI could be merely a simplification of notation.

category imprint: Differences between sources; Editorial revisions; Source & stylistic information

issues: GE revisions , Bass register changes , Abbreviated octaves' notation

b. 200-202

composition: Op. 2, Variations, complete

Semiquavers after AsI

Dotted rhythms in A (→GE→FE,EE)
..

The semiquavers appearing in bars 200 and 202 in AsI are the original version, since dotted rhythms appear both in A and editions, as well as in printed orchestral parts. However, in the orchestra part of AsI, the situation is not so clear. Its notation in bars 200-202 is short – only the part of the first violins and cellos with double basses and "as above" repeated several times, which probably refers to the previous Tutti. In bar 200, the violin part has a dotted rhythm (written incorrectly, perhaps added in a hurry), and the bass part has a semiquaver rhythm.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Main-line changes

b. 200

composition: Op. 12, Variations in B♭ major

No slur in FE (→EE)

Slur in GE
..

The missing slur must be due to Chopin's inadvertence or the FE engraver's oversight (→EE). The slur added in GE could be coming from Chopin, yet such an addition could have also been performed by the reviser.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions