mUltimate Chopin

Op. 26 No 1, Polonaise in C♯ minor

Text Compare Notes Sources Description

Issues : Differences in form

b. 13

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

No repeat sign in A (literal reading)

Repetition in FE (→GE,EE)
..

The sign opening the repetition of bars 13-37, in A probably accidentally overlooked, was most probably added by Chopin in the proofreading of FE (→GE,EE). Cf. bar 54.

category imprint: Interpretations within context; Differences between sources

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

b. 54-85

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

Repetition in A, contextual interpretation

No repetition in A (literal reading→FE→GE,EE)

Our variant suggestion
..

The sources do not include the sign opening the repetition in this place, yet A does include its ending in bar 85. Chopin either wanted to repeat bars 54-85, yet he forgot to mark it in bar 54, or just the opposite – the sign in bar 85 was erroneously placed and the discussed fragment is not to be repeated. FE (→GE,EE) do not include any repetition signs in these bars, which, can, yet does not have to, indicate Chopin's proofreading. We give the version of the base source, i.e. FE2, as the main text, with a note indicating a possibility of repetition.

category imprint: Interpretations within context; Differences between sources

issues: Differences in form , Inaccuracies in A

b. 85

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

Repeat sign in A

No sign in FE (→GE,EE)

Our variant suggestion
..

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