b. 57
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composition: Op. 22, Polonaise
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Just like in b. 19, we consider the missing slur over the accompanying L.H. figure to be Chopin's oversight; in the main text we suggest a slur modelled after b. 17-18 and 56. A slur was also added in EE, yet, contrary to b. 19, it does not encompass the 1st quaver of the bar. See the next note. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 58
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composition: Op. 22, Polonaise
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In the main text we add the tied f quaver on the 3rd beat of the bar by analogy to b. 20 and 164. category imprint: Editorial revisions |
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b. 58
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composition: Op. 22, Polonaise
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In the main text we suggest adding pedalling markings after analogous b. 20 and 164. category imprint: Editorial revisions |
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b. 59-60
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composition: Op. 22, Polonaise
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EE1 is lacking in the accidentals before the last semiquaver in b. 59 and the 4th note of the quintuplet in b. 60. These are patent mistakes – cf. the lowering d2 to d2 in analogous b. 21 – probably committed still in [A], from which they got into EE1 through a proof copy of FE. In the very FE (→GE) Chopin not only added both flats in the last stage of proofreading, but also a cautionary before d3 at the end of b. 60. All 3 accidentals were also added in EE2. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Cautionary accidentals , Omission of current key accidentals , Authentic corrections of FE , Errors repeated in EE |
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b. 61
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composition: Op. 22, Polonaise
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FE (→GE,EE) are lacking in the restoring d2 on the 6th note of the run. In EE it is also the restoring e2 two notes later that is missing. In practice, these mistakes are of no major significance, since there is no doubt that we are dealing with a chromatic sequence. See also b. 205. category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Errors in EE , Omissions to cancel alteration , Errors repeated in GE , Errors repeated in EE |