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b. 232-235

composition: Op. 44, Polonaise in F♯ minor

..

In AImaz the R.H. part includes only the top voice melody; moreover, it differs from the final version in two places:

  • the 4th quaver in b. 233 is b1, while in the final version – b1;
  • the 1st note in b. 235 is g1 instead of e1.

There are also minor rhythmic differences – see b. 220-242.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Main-line changes

b. 232-235

composition: Op. 44, Polonaise in F♯ minor

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In AImaz the form of the accompaniment is much simpler. In b. 232-233 it consists of two crotchets (bass and chord) and rests. In b. 234-235 there are crotchets only following the bass-chord-chord scheme, whereby both bars are almost exclusively based on a B major chord (it is only on the 3rd beat of b. 234 that an E major chord appears).

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes

b. 232

composition: Op. 23, Ballade in G minor

a2-f3 in A (→FE→EE,GE1→GE2→GE3→GE4)

a2-f3 in GE1a
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The version of GE1a with an a2-f3 sixth resulted from a routine revision based on the idea that diminished or augmented octaves generally come from oversights or mistakes.

category imprint: Differences between sources

issues: GE revisions

b. 232-233

composition: Op. 49, Fantaisie in F minor

Slur to b. 233 in A (→GE)

Slur to end of b. 232 (literal reading→EE)
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In FE the slur in bar 232, at the end of a page, suggests that it should be continued, yet there is no ending thereof on the following page. EE considered the slur to be excessively long and ended it on the last quaver in the bar. In the main text we give the unequivocal A slur (→GE). 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Uncertain slur continuation

b. 232

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

No markings in A (→GE→FE,EE)

4 long accents in IE
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IE added 4 short  marks, indicating long accents, as in GE (→FE,EE,IE) in the next bar – see the respective note. According to us, they could have resulted from a mistake – the engraver inserted the marks a bar too early; having realised his mistake, he assumed that the marks did not need to be removed, as they did not disturb the musical course, and he limited his self-corrections to adding the four right marks to bar 233.

category imprint: Differences between sources

issues: FE revisions