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Op. 26 No 1, Polonaise in C♯ minor

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Articulation, Accents, Hairpins

b. 7

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

No staccato dot in FE (→EE) & GE2 (→GE3→GE4→GE5)

Staccato dot in A & GE1
..

The missing staccato dot in FE, placed in A over the 1st quaver of the triplet, can be a result of Chopin's proofreading. The appearance of the dot in GE1 may be explained with the engraver's distraction, whereas a relevant correction was introduced in GE2 (→GE3→GE4→GE5).

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions , Authentic corrections of FE

b. 11

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

 in A

contextual interpretation of  in FE (→GE1);
 in EE & GE2 (→GE3→GE4→GE5)

 in FE (→GE1) on 2nd instance
..

In the main text we give the  hairpins on the basis of A. In FE1 (→GE1) they were reproduced differently the first and second time. According to us, the slightly longer sign printed the 1st time better conveys the idea of the hairpins of A and this is the version we adopt as the context interpretation of the text of these sources. It was interpreted in the same manner in EE and subsequent GE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 13-17

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

2 staccato dots in A (→FE→EE)

1 staccato dot in GE1

3 staccato dots in GE2 (→GE3→GE4→GE5)
..

In A Chopin most probably introduced a staccato dot for the 1st quaver in the L.H. in bar 13 and certainly in bar 17. Both signs were included in FE. As bar 15 is generally a repetition of bar 13, the absence of the dot in the analogous place can be considered Chopin's oversight. In turn, as a result of an unquestionable oversight of the engraver, in GE1 there is no dot in bar 17 – the sign was already in FE. To the main text we adopt the complete articulation of GE2 (→GE3→GE4→GE5).

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Errors in GE , GE revisions , Inaccuracies in A

b. 13-79

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

..

In the editions, almost all signs of accents were represented as short accents – the engraver of FE (→GE1) correctly placed the only long accent in bar 63, yet in EE and GE2 (→GE3→GE4→GE5) it was changed to a short one. According to us, the notation of the majority of the accents of A clearly indicates their interpretation as long accents. Apart from the aforementioned, in the manuscript there is a specific for Chopin, rarely present sign of an inverted long accent – see bar 47.

category imprint: Differences between sources; Source & stylistic information

issues: Long accents , EE revisions , GE revisions , FE revisions

b. 15

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

Long accent in A (contextual interpretation)

Short accent in A (literal reading→#Wf→GE,EE)
..

Although in A the sign of the accent is clearly shorter than in the adjacent bars, it is most probably to be interpreted as a long accent – same as in analogous bars 13 and 17.

category imprint: Differences between sources

issues: Long accents