mUltimate Chopin

Op. 22, Polonaise

Text Compare Notes Sources Description

Issues : EE revisions

0
b. 98-100

composition: Op. 22, Polonaise

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In FE (→GE1), there are no naturals before the 3rd L.H. note in b. 98 (b), the 14th R.H. note in b. 99 (b2) and the 3rd L.H. note in b. 100 (B). The patent inaccuracies were corrected in EE only in the first of these places, whereas in GE2 (→GE3) only in the L.H.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions

b. 101

composition: Op. 22, Polonaise

g3 in FE (→GE,EE1)

f3 in EE2
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The version of EE2, in which the entire passage was standardised by changing the last note of the bar from g3 to f3, is an arbitrary revision, assuming a mistake in FE and in the remaining sources. However, the original version most probably does not contain a mistake – cf. similar actions in such passages in the Etude in C Major, Op. 10 No. 1, e.g. in b. 29.

category imprint: Differences between sources

issues: EE revisions

b. 101

composition: Op. 22, Polonaise

Slur from b in FE

Slur from G in GE & EE
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The slur of FE must be inaccurate, since there is no substantive reason for it not to encompass the entire passage. In turn, it is easy to misinterpret the beginning of the slur in this layout, if – which is highly likely – the beginning of the slur in [A] did not go beyond the top stave (cf., e.g. the autograph of the Etude in F Major, Op. 10 No. 8, b. 16, 29, 65 or the Concerto in F Minor, Op. 21, I mov., b. 235). Due to this reason, in the main text we include the extended slur of GE and EE. A similar inaccuracy, although less significant, can be suspected at the end of this slur.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 105

composition: Op. 22, Polonaise

No mark in FE (→GE)

Staccato dot in EE
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The staccato dot over the R.H. octave is an arbitrary addition of EE. According to us, this addition is not justified, since the L.H. octave has a double function:

  • it ends the octave sequence – without staccato, like the R.H. octave;
  • opens a new polonaise accompaniment formula – with dot, like in the next bars.

category imprint: Differences between sources

issues: EE revisions

b. 105

composition: Op. 22, Polonaise

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EE added cautionary naturals before the c-c1 octave. 

category imprint: Differences between sources

issues: EE revisions