Op. 22, Polonaise

  b. 142

There are no accidentals before the 4th and 8th semiquavers in FE (→EE,GE). In line with the contemporary rules of validity of accidentals, this notation is ambiguous – if they are supposed to be c² and c³, they are to be provided with sharps, whereas if they are supposed to be c² and c³ – with naturals. As a matter of fact, some of the later popular collective editions added naturals before these notes, determining them as c² and c³. However, it is contrary to the back then understanding of the authentic notation:

• wherever an octave sign appears, the sources of the Polonaise generally apply the rule of validity of accidentals at the pitch resulting from the notation, like in analogous b. 144, in which there is no  before a¹, as well as in, e.g. b. 150 (no flats before c³ and d³), 155-156 (no naturals before the a¹ and a² demisemiquavers) or 223 and analog. (no  before b²). It means that the 4th semiquaver in the discussed place is a c². As there is no doubt that the figure is strictly repeated an octave higher, the 8th semiquaver must be a c³, while leaving it without accidental is merely a minor inaccuracy of notation, very frequent in Chopin's works;
• this reasoning is confirmed by the  put in front of c⁴, the last note in the bar. It proves that Chopin considered the alteration of c to c to be valid up until this very place;
• we encounter a similar situation in the Concerto in F Minor, Op. 21, I mov., b. 143-144 – in a similarly structured passage, the doubt resulting from the absence of a  is dissipated only just by a cautionary  in the next bar.

Taking into account the above arguments, we provide the discussed notes with sharps, in accordance with the contemporary rules of chromatic orthography.

Compare the passage in the sources »

category imprint: Interpretations within context

issues: Accidentals in different octaves, Cautionary accidentals

notation: Pitch

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