mUltimate Chopin

Op. 26 No 1, Polonaise in C♯ minor

Text Compare Notes Sources Description

Issues : Inaccuracies in A

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

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. 20

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

Staccato dot in A

No dot in FE (→GE→EE)
..

FE (→GE,EE) overlooked the staccato dot for the D1-D octave in the L.H. The engraver's oversight was certainly caused by the unclear notation of A, in which Chopin introduced some of the dots in a very delicate manner and at the same time not directly under the note (moved to the left or to the right) and additionally merging with the pedalling signs. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies , Inaccuracies in A

b. 22

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

Staccato dot in A
 
..

The absence of the staccato dot for the 1st quaver in all editions is undoubtedly an oversight of the engraver, resulting from the inaccuracy of notation of A.
See bar 20.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies , Inaccuracies in A

b. 29

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

A-B in A, FE2 (→EE) & GE5

A-B suggested by the editors

A-B in FE1

A-B in GE1 (→GE2)

A-H in GE3 (→GE4)
..

The oversight of  in FE1 (→EE) next to the second grace note could have been caused by the unclear notation of A – due to the cramped notation of grace notes (probably added later)  is almost illegible. The correct version was returned in FE2 (→EE), most probably as a result of Chopin's correction. In GE1 (→GE2) the clearly erroneous version of FE1 was revised, by changing the 1st grace note to A. Another revision was performed in GE3 (→GE4), by deleting the  next to the 1st grace note. The correct text was introduced only in GE5, probably after comparison with FE2.

In the main text we remove the unnecessary  next to the minim, most probably being a trace of the original version without the grace notes beginning the trill.   

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Errors in FE , Errors in EE , Errors in GE , Authentic corrections of FE , Inaccuracies in A