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b. 201-202

composition: Op. 44, Polonaise in F♯ minor

Minim B tied to bar 202 in GE & EE2 (→EE3)

Minim B in FE

Minim d in EE1
..

The version of FE must be incomplete, which is supported by a comparison with all analogous places – b. 142-145, 162-165, 203-204 and 221-224. However, it is difficult to say whether it resulted from oversights of FE or of its earlier handwritten basis or whether Chopin supplemented the notation of [A] after [FC] had already been finished. In EE1 that version was reproduced with a Terzverschreibung mistake on the 2nd beat of b. 201. In the main text we give the correct version of GE, undoubtedly intended by Chopin, introduced also by the reviser of EE2 (→EE3).

The missing tie and B in FE (→EE1) are probably an oversight of the engraver, corrected in EE2 (→EE3).

category imprint: Differences between sources

issues: EE revisions , Errors in FE

b. 201-204

composition: Op. 44, Polonaise in F♯ minor

No markings in GE

Pedalling in FE (→EE)
..

As was the case with b. 142-144 and 162-164, the pedal markings of FE (→EE) were most probably introduced by Chopin into the basis for FE.

category imprint: Differences between sources

b. 201-203

composition: Op. 44, Polonaise in F♯ minor

..

In AImaz the minims on the 2nd beat of b. 201, 221 and 223 are written in one-part notation, without crotchets in unison, whereas in b. 203 Chopin specified the notation by adding crotchet rests on the 2nd beat of the bar. Wherever it is not directly indicated that the crotchet that ends the bar falls within the duration of the preceding minim, the bar may be erroneously interpreted, i.e. as if it were containing four beats. In the Andante spianato, Op. 22, written a few years earlier, Chopin left such a spare notation in b. 78 and 90 that the versions of notation of certain editions were inaccurate or wrong.

category imprint: Corrections & alterations; Source & stylistic information

b. 201-202

composition: Op. 44, Polonaise in F♯ minor

..

The corrections visible in AImaz reveal that initially the topmost note of the 1st chord in b. 202 was g1, which Chopin then changed to a1, tied from the previous bar. The final version features g1 again, which, however, was related to the fact that the next phrase (from the 2nd quaver) was moved an octave higher. The fact that in analogous b. 143 and 163 Chopin introduced the version with a tie only just while proofreading FE proves that he hesitated; actually, he hesitated to the very end of the creative process. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Chopin's hesitations

b. 201-204

composition: (Op. 4), Sonata in C minor, Mvt I

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text we omit the inauthentic R.H. part fingering added by EE in bar 201 and 204.

category imprint: Differences between sources

issues: EE revisions