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b. 241
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composition: Op. 44, Polonaise in F♯ minor
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The whole-bar slur of GE probably resulted from an erroneous interpretation of the inaccurate slur of [A]. Chopin would generally start slurs running from a note written in notes tied by one or a few ties either from the first or last of those notes, but never the middle one. In the absence of a slur in FE (→EE), in the main text we refer to an analogous situation in b. 182. In the version of GE in which b is tied twice, the suggested slur is tantamount to the one written down in the source. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE |
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b. 241
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composition: Op. 44, Polonaise in F♯ minor
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In EE1 the dots extending the b1-g category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in EE |
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b. 241-242
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composition: Op. 44, Polonaise in F♯ minor
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As was the case with the slur and tie in this bar (see the adjacent notes), GE contain a tie that is absent in FE (→EE). However, in this case the choice of the main text was influenced by stylistic and pianistic reasons – a tied B significantly complicates the performance with a minimal difference to the sound. Moreover, one could assume that playing both elements of the octave is an improvement, since it underlines the culminant nature of this bar. In this situation, the absence of the tie probably resulted from the change of concept by Chopin, who removed it in the basis for FE or while proofreading it. category imprint: Differences between sources |
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b. 241
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composition: Op. 44, Polonaise in F♯ minor
category imprint: Differences between sources |
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b. 241
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composition: Op. 49, Fantaisie in F minor
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As in the preceding bar, the continuous FE slur (→EE) is most probably a misunderstanding in the interpretation of [FC]. category imprint: Differences between sources issues: Errors in FE |
2 crotchet were overlooked. The mistake was rectified in 
