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Op. 26 No 2, Polonaise in E♭ minor

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b. 35

composition: Op. 26 No 2, Polonaise in E♭ minor

..

All sources display an unfounded (cautionary?)  next to g3. GE2 (→GE3→GE4) and EE2 added yet another  next to g in the L.H.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions

b. 35

composition: Op. 26 No 2, Polonaise in E♭ minor

..

A has no  rising c to c. The gap was filled in already in FE1. In all sources a  is superfluously repeated next to the demisemiquaver c2; A and EE also have  next to c1 at the end of the arpeggio.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , FE revisions , Last key signature sign

b. 35-40

composition: Op. 26 No 2, Polonaise in E♭ minor

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In bars 35 and 40 GE2 (→GE3→GE4) changed  to . See the characteristics of GE2. 

category imprint: Differences between sources

issues: GE revisions

b. 36

composition: Op. 26 No 2, Polonaise in E♭ minor

..

A (→FE→GE) has flats (cautionary?) next to the g1-g2 octave. EE omitted (deleted?) the signs, while GE2 (→GE3→GE4) added an extra  next to g in the L.H.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 37

composition: Op. 26 No 2, Polonaise in E♭ minor

..

A has no accidentals before the first quaver. Sharps necessary to indicate notes c, c1, c2 were not written by Chopin until the last semiquaver, and only in the R.H. (the same pertains to bar 141, which is a repetition of bar 37). The editions filled in the essential signs (some or all):

  • FE added naturals next to the first R.H. octave;
  • GE and EE added all three essential naturals;
  • GE2 (→GE3→GE4) and EE2 added an extra  before c at the end of bar.

In the main text we leave only naturals at the beginning of the bar.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , FE revisions