Articulation, Accents, Hairpins
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b. 75-76
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composition: Op. 26 No 2, Polonaise in E♭ minor
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The second half of bar 75 and the 1st quaver in bar 76 are provided with staccato dots in the part of the R.H. 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 |
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b. 78-79
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composition: Op. 26 No 2, Polonaise in E♭ minor
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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 |
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b. 79-80
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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 |
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b. 81-82
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composition: Op. 26 No 2, Polonaise in E♭ minor
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In the proofreading of FE1 Chopin added staccato dots in the L.H. in the 2nd half in bar 81 and the 1st half in bar 82. Cf. bars 69 and 70-71. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 83
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composition: Op. 26 No 2, Polonaise in E♭ minor
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In the proofreading of FE1 Chopin removed staccato dots (or portato – the dots were written under the slur), written in A in the part of the R.H. in the 2nd half of bar 83. category imprint: Differences between sources issues: Authentic corrections of FE |
