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b. 268-273

composition: Op. 44, Polonaise in F♯ minor

..

As before, in FE (→EE) the octaves at the beginning of b. 268-271 and on the 2nd beat of b. 272-273 are written in a way that an entire octave is encompassed with the stem of the bottom voice quaver, and it is only the top note that is provided with an additional crotchet stem. It must be a mistake, which is evidenced by the dots prolonging both notes of the octaves in b. 270-273. To the main text we adopt the notation of GE, which is undoubtedly correct.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 268

composition: Op. 2, Variations, complete

..

The triplets in the 2nd half of the bar are written in A (→GE1→FE,EE) as demisemiquavers instead of semiquavers. The mistake was corrected by GE2 (→GE3,FESB).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 268

composition: Op. 2, Variations, complete

Slurs delimiting triplets in A (→GE→FE1,EE)

No triplet slurs in FESB
..

In accordance with the General Editorial Principles, p. 16, in the main text we omit the 4 slurs present in the majority of the sources; these slurs are part of the triplet markings, and they unnecessarily overlap the articulation slurs of the same range. The slurs were also omitted by FESB.

category imprint: Differences between sources; Editorial revisions

issues: FE revisions , Triplet slurs

b. 268

composition: Op. 2, Variations, complete

No marks in A

Accent on d1 in GE (→FE)

2 accents in EE
..

It is highly likely that Chopin overlooked the accents, since they are present in the analogous figures both in the previous bars and the next one. It is difficult to assume that Chopin would have wanted to forgo accents, especially the one on f1, which is crucial for the modulation to the key of the final polonaise. The transition to a new page in A (the discussed bar opens the page) was conducive to distraction. The indicated harmonic context suggests that it is also the addition of an accent only over d1 in GE (→FE) that seems to be a mistake or misunderstanding in the implementation of the proofreading corrections. Therefore, in the main text we include the revision of EE, which gives both accents, over d1 and f1.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 268

composition: Op. 2, Variations, complete

in A

cresc. in GE (→FE,EE)
..

As in bar 266, in GE (→FE,EE) the  hairpin encompassing the cresc. indication was overlooked, which could not have been authorised by Chopin.

category imprint: Differences between sources

issues: GE revisions