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b. 223-224

composition: Op. 11, Concerto in E minor, Mvt III

Tied g​​​​​​​1 in FE (→GE,EE)

No g​​​​​​​1 in bar 224 in FEH
..

The crossing-out of the tied g​​​​​​​1 note at the beginning of the bar visible in FEH may indicate a variant – cf. analogous bar 228. It was probably meant to simplify the performance, since omission of the tie, sonically practically unnoticeable, enables the f1-g1 second to be performed with the 1st finger, which, in turn, allows for an easier fingering of the upper voice. However, it cannot be excluded that the crossing-out was only supposed to suggestively signalise that this note should not be played simultaneously with the e1-e2 octave, which is indicated by a few similar crossings-out – see bars 294-295 as well as 334-335, 370-371, 377-378. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH

b. 223

composition: Op. 22, Polonaise

No mark in FE (→GE,EE)

Accent suggested by the editors
..

In the main text we suggest adding an accent at the beginning of this bar. The accent is featured in two out of three repetitions of this bar (in b. 227 and 247), and, according to us, it is the composer's inadvertence or a mistake of the engraver of FE that are the most likely reasons for its absence. There is a similar situation in b. 243.

category imprint: Editorial revisions

b. 223-224

composition: Op. 22, Polonaise

No marks in FE (→GE,EE)

Staccato dots added by editors
..

The missing staccato dots under the bass octaves at the beginning of these bars must be an inaccuracy of notation. Dots are present in analogous b. 227-228 and 247-248 as well as 244. After all, the staccato articulation results here from the very piano texture, hence we do not signalise the addition of the marks with brackets.

category imprint: Editorial revisions

b. 223

composition: Op. 22, Polonaise

e1-a1 in FE (→GE) & EE2

e1-a1 in EE1
..

The version of EE1, repeated then in all analogous bars (b. 227, 243 and 247), could have been the initial version of these bars. However, it seems to be more likely that we are dealing here with Chopin's inadvertence, corrected in the penultimate stage of proofreading of FE (→GE). The correction was also introduced in EE2, probably on the basis of GE1. The a1 note is featured in the violas part, yet only just on the 3rd beat of the bar (after the rests).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Omission of current key accidentals , Authentic corrections of FE , Last key signature sign

b. 223

composition: Op. 44, Polonaise in F♯ minor

No markings in GE & EE

 in FE

  suggested by the editors
..

The pedalling of FE is most probably incomplete, hence in the main text we supplement it after analogous b. 221 (as well as 203). The missing markings in EE most probably resulted from an oversight, as in the two preceding bars.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , No pedal release mark