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Op. 26 No 2, Polonaise in E♭ minor

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b. 76

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

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We removed superfluous sharps (cautionary?) placed in A next to a in bar 76 and a1 in bar 86. All editions had a similar approach. The deletions visible in A show that this kind of superfluous sharps were initially written in A still in bars 72, 79-80 and 84. See also bars 99-100. 

category imprint: Differences between sources

issues: Authentic corrections of FE , Last key signature sign

b. 77-85

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

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On the 5th quaver of the bar GE4 added cautionary  next to g1 in bar 77 and g1 and g in bar 85. Similarly in bar 93.

category imprint: Differences between sources

issues: GE revisions

b. 78-79

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

No marks in A (→FE→GE1)

Staccato dots in EE & GE2 (→GE3→GE4)
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We adopt the staccato dots in the L.H. in bar 78 and on the first two quavers in bar 79, added in EE and GE2 (→GE3→GE4), to the main text due to Chopin additions of dots in the proofreading of FE in analogous bars.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 79-80

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

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The entire 2nd half of bar 79 and the 1st quaver in bar 80 (in the parts of both hands) and the next two semiquavers in the L.H. are provided with staccato dots in A. Chopin removed them in the proofreading of FE1 – see the next note.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 79-80

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

Dots & slur from bar 80 in A

Slur from bar 79 in FE (→GE,EE)
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In the main text we give the longer slur, with which Chopin replaced the staccato dots and the shorter slur in A. He introduced similar changes in almost all analogous places.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE