mUltimate Chopin

Op. 26 No 1, Polonaise in C♯ minor

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b. 38

composition: Op. 26 No 1, Polonaise in C♯ minor

Slur in A (→FE→GE)

No slur in EE
..

In EE the engraver overlooked the slur in the L.H.

category imprint: Differences between sources

issues: Errors in EE

b. 38

composition: Op. 26 No 1, Polonaise in C♯ minor

 in A (→FE→GE1,EE)

No sign in GE2 (→GE3→GE4→GE5)
..

It is hard to state why the  hairpins in GE2 (→GE3→GE4→GE5) were deleted. The graphic layout of the bar indicates rather an intentional action of the revisers than a possible engraving error.

category imprint: Differences between sources

issues: GE revisions

b. 38

composition: Op. 26 No 1, Polonaise in C♯ minor

..

The beginning of the D major section is rich in deletions in A. They suggest, i.a., that Chopin started writing notes without having marked the change of key (the deleted f2 minim among the key signature on the top stave) and that he added dots on the right hand side of the repetition sign later (deletion of braces, directing the repetition sign backwards).

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Authentic corrections of FE

b. 39

composition: Op. 26 No 1, Polonaise in C♯ minor

..

In A Chopin undoubtedly overlooked the  raising g1 to g1 in the written grupetto. He did not correct the mistake in the proofreadings of FE either. The necessary sign was added only by the revisers of GE2 (→GE3→GE4→GE5) & EE2.

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

issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , Errors of A , Last key signature sign

b. 39-53

composition: Op. 26 No 1, Polonaise in C♯ minor

..

In A Chopin marked subsequent bars 39-53 with numbers from 1 to 15. He then wrote respective numbers instead of note text in bars 71-85, as their repetition.

category imprint: Source & stylistic information