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Op. 26 No 1, Polonaise in C♯ minor

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b. 85

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

Wedge in A

No wedge in FE (→GE,EE)
..

category imprint: Differences between sources

issues: Errors in FE , Errors in EE , Errors in GE

b. 85

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

..

In all editions there is no crotchet stem for a1.

category imprint: Differences between sources

issues: Errors in FE , Errors in EE , Errors in GE

b. 85

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

Repeat sign in A

No sign in FE (→GE,EE)

Our variant suggestion
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The visible in A repetition sign probably means that while writing the Polonaise, Chopin assumed repeating bars 54-85 (the doubt arises, i.a., due to the absence of a respective sign in bar 54). The absence of this sign in FE (→GE,EE), which is probably a result of Chopin's proofreading, indicates a change of decision and this is the version we give in the main text. However, an erroneous introduction of a repetition sign due to the lack of note text in the previous bars, favouring confusion and related to the abbreviated notation of bars 71-85, also cannot be excluded.

category imprint: Differences between sources; Source & stylistic information

issues: Errors of A , Authentic corrections of FE , Differences in form

b. 85

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

No indication in A (→FE→GE,EE)

[D. C. al Fine...] suggested by the editors
..

The D. C. al Fine senza repetizioni indication is our addition. In the sources there is no indication ordering repetition of the C minor section (da Capo), there is only Fine, with which Chopin would usually mark the end of a manuscript (piece). In spite of this, we consider a typical, three-section polonaise form to be more likely than the clearly less frequently encountered two-section structure:

  • all remaining Polonaises published by Chopin – Op. 3, 22, 26, 40, 44, 53 – use a form based on a three-section scheme, in which the third section is a repetition of the first one, shortened or modified in another way;
  • in the previous, unpublished polonaises, in which no one doubts the ABA form, only two out of nine pieces include a written da Capo indication;
  • A is written rather carelessly, it is of a partially working character. Therefore, it is quite possible that similarly as in the previous polonaises, Chopin did not mark – the obvious for him – da Capo indication. 

category imprint: Interpretations within context; Editorial revisions; Source & stylistic information

issues: Errors of A , Differences in form , Unmarked Da Capo