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Op. 26 No 1, Polonaise in C♯ minor

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Articulation, Accents, Hairpins

b. 3

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

No staccato dots in A & in repetition FE (→GE1)

Staccato dots in FE (1st time) & EE,GE2 (→GE3→GE4→GE5) (1st & 2nd time)
..

The staccato dots for the 2nd chord are rather non-authentic. They were most probably added by the revisers, perhaps as a result of misinterpretation of A – one can see a minor fleck of ink between the beam and note head of the lowest note in the R.H. Moreover, the signs were added inconsistently: FE (→GE1) includes dots only the first time (in GE1 only over the R.H.), yet they are absent in the repetition. The revisers of EE and GE2 (→GE3→GE4→GE5) added dots in both situations.

category imprint: Differences between sources

issues: EE revisions , GE revisions , FE revisions

b. 3

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

..

The first time GE1 overlooked the staccato dot for the G-g octave in the L.H. (the sign was placed correctly in the repetition). The mistake was already corrected in GE2 (→GE3→GE4→GE5).

category imprint: Differences between sources

issues: Errors in GE

b. 4-5

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

 from bar 4 in A (→FE→EE) & 2nd time in GE

 from bar 5 in GE (first time)
..

The first time, the  hairpins in GE begin only at the beginning of bar 5, which is most probably a routine revision (in the repetition the sign was reproduced accurately).

category imprint: Differences between sources

issues: GE revisions

b. 4-6

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

..

In bar 6, opening a new line of the text in A (→FE→GE), Chopin wrote new  hairpins. However, the range of both this sign and of the previous one (in bar 5) clearly indicates the intention of a continuous crescendo in both bars. This is how it was reproduced in the editions in the written repetition of these bars (in EE the unambiguous notation was used already in the first appearance of this fragment). Taking into account the fact that in our transcriptions bars 5-6 are in one line of the text, we use one  sign, as the seemingly literal interpretation of both signs in such a graphical layout would have changed its sense to a much greater extent.

category imprint: Interpretations within context; Differences between sources

issues: Hairpins denoting continuation

b. 6

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

 in A (→FE→GE1, first time)

 in FE (→GE1), first time & in GE2 (→GE3→GE4→GE5)

 in EE
..

The sources differ in the range of  hairpins. Taking into account various possibilities of interpretation of the not too carefully written signs in A (also in analogous bar 31) and a possibility of Chopin proofreading of FE (at the reappearance of this bar in the written repetition of bars 1-12), all three variants of the range of this sign can be considered to be potentially corresponding to Chopin's intention. In the main text we give the most possible interpretation of the hairpins of A.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Inaccuracies in A