mUltimate Chopin

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 224

composition: Op. 22, Polonaise

No marks in FE (→GE,EE)

Staccato dots suggested by the editors
..

In the main text we add staccato dots under the last two quavers after analogous b. 228 and 248. There is a similar situation in b. 244.

category imprint: Editorial revisions

b. 224

composition: Op. 22, Polonaise

..

EE1 is lacking in the cautionary flats before a1 in the L.H. crotchet chord and before b1, the 4th R.H. semiquaver. The accidentals were added in the penultimate stage of proofreading of FE (→GE) as well as in EE2. In the main text we also add a  before a1, the 2nd R.H. semiquaver. Cf. b. 223. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Cautionary accidentals , Authentic corrections of FE

b. 224-227

composition: Op. 44, Polonaise in F♯ minor

3 slurs in GE

Continuous slur in FE (→EE)
..

In the main text we give the slurring of GE, in which the slurs are separated with rests in b. 224 and 226. Although one can often encounter slurs over rests in Chopin's output – cf., e.g. b. 217 or 240 – in this case it is much more likely that the continuous slur encompassing b. 220-227 in FE resulted from misinterpretation of the slurs of the handwritten basis (perhaps inaccurate or ambiguous). It particularly concerns b. 224 – cf. analogous b. 165 – in which the melody, not to mention the L.H. part, moves on to a higher register (from f1-e2 in b. 220-224 to f2-c3 in b. 224-227).

category imprint: Differences between sources

b. 224-225

composition: Op. 44, Polonaise in F♯ minor

..

In the main text we add cautionary naturals to a1 and a2 in b. 224 and a  to c2 as well as a  to a3 in b. 225.

category imprint: Editorial revisions

b. 224

composition: Op. 44, Polonaise in F♯ minor

..

On the 2nd and 3rd beats of the bar one can see corrections of the bottom R.H. notes in AImaz the result of which is not entirely clear. The crotchet on the 2nd beat could be interpreted as d2-a2 or c2-a2, since it is uncertain whether Chopin was changing c2 to d2 or the other way around. According to us, it is the former that is more likely, which is indicated by the correction of the next crotchet, in which c2 was changed to c2. Therefore, it is likely that Chopin initially wrote down the same harmonic sequence as in the next bar (c2-a2 and c2-a2), only to later raise both bottom notes, which resulted in d2-a2 and c2-a2. The text of the Polonaise reveals that Chopin eventually abandoned that diversification.

category imprint: Graphic ambiguousness; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes