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Op. 26 No 2, Polonaise in E♭ minor

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b. 53

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

in A

No marking in FE (→GE,EE)
..

The absence of  in FE (→GE,EE) is most probably a result of engraver's inattention. Similarly in bars 109 and 157.

category imprint: Differences between sources

issues: Errors in FE

b. 59-60

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

 in A (→FE→GE1,EE)

 in GE2 (→GE3→GE4)
..

See the characteristics of GE2.

category imprint: Differences between sources

issues: GE revisions

b. 60

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

in A, GE2 (→GE3→GE4) & EE2

No marking in FE (→EE,GE1)
..

The absence of  in FE (→GE1,EE1) is certainly an oversight of the engraver, added in the subsequent GE and EE2.

category imprint: Differences between sources

issues: Inaccuracies in FE , GE revisions

b. 97

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

 in A (→FE→GE,EE)

 written in FEJ
..

The change of dynamics from  to  was written by Chopin to FEJ.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEJ

b. 97

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

tremol. in A

tremolo in FE (→GE,EE)

tremolando suggested by the editors
..

Chopin wrote the tremolando indication in A in an abbreviated tremol. form, which was developed in the editions as tremolo. Although both expressions tend to be considered to be synonyms, some of the authors reserve tremolo for the effect of repeating one sound, which, on keyboard instruments, is much less frequent than the used by Chopin (also rather exceptionally) interchangeable repetition of two notes. Due to this fact, in the main text we suggest tremolando.

category imprint: Interpretations within context; Differences between sources

issues: FE revisions