Issues :

b. 52

composition: Op. 44, Polonaise in F♯ minor

in GE

 in FE (→EE)

..

To the main text we adopt the notation of GE, based on [A]. Chopin would use both symbols interchangeably to mark a mordent; however, the version of FE may be regarded as a variant.

category imprint: Differences between sources

issues:

b. 78

composition: Op. 44, Polonaise in F♯ minor

in GE

 in FE (→EE)

..

To the main text we adopt the notation of GE, based on [A]. Chopin would use both symbols interchangeably to mark a mordent; however, the version of FE may be regarded as a variant.

category imprint: Differences between sources

issues:

b. 151-153

composition: Op. 21, Concerto in F minor, Mvt I

2 times  in A (→GE)

 in FE

2 times  in EE

..

The  signs, present in bars 151 and 153 in A (→GE), are the original version of notation of these ornaments. In analogous bars 155 and 157, Chopin already used mordents; what is more, in the proofreading of FE he changed  to  also in bar 151 (most probably he wanted to do it in bar 153 too, yet the engraver of FE must have deleted , but forgot to insert ). EE repeated  after FE in bar 151 and added  – by analogy – in bar 153.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Authentic corrections of FE ,

b. 184

composition: Op. 2, Variations, complete

 in AsI

 & grace notes in A (→GEFE,EE,FESB)

 with  & grace notes suggested by the editors

..

In AsI the ornament, added probably later, is provided with a draft and not entirely clear form; however, it is most probably . Chopin would often use this mark in the sense of  (at times they are even difficult to tell apart). Therefore, the use of a different mark does not have to mean that Chopin envisaged a longer ornament.
Placing a  under the third in FE, which, formally speaking, changes its meaning, is a routine manner of the engravers, who would often move marks (concerning particular notes, but also slurs) to the side of noteheads (in the editions the stems of the notes in the 2nd half of the bar point upwards). Cf., e.g. the Polonaise in F minor, Op. 44, b. 10. The absence of this  in FESB is most probably an oversight.

None of the sources includes a mark that would specify the sound of the ornament's top note. The prevailing key in b. 184-190, F major, requires the use of e2, which in the main text we indicate with naturals. Omissions of accidentals in similar situations is a rule rather than an exception in Chopin's pieces – apparently, the composer believed that the sense of key would suggest the right note to the performer.

category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations

issues: Errors in FE , Placement of markings , FE revisions , ,

b. 285

composition: Op. 44, Polonaise in F♯ minor

in GE

 in FE (→EE)

..

Like in b. 52 and 78, to the main text we adopt the notation of GE, based on [A]. Chopin would use both symbols interchangeably to mark a mordent; however, the version of FE may be regarded as a variant.

category imprint: Differences between sources

issues: