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b. 53-54
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composition: Op. 22, Polonaise
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According to us, the pedal pressed at the beginning of b. 53 should be held to the end of b. 54; therefore, in the main text we suggest adding a category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , No pedal release mark |
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b. 53-54
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composition: Op. 22, Polonaise
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Three accents in b. 54 are slightly longer in FE, moved to the right and inclined, which, according to us, means that a different accent should be applied (with respect to the previous ones). Therefore, in the main text we reproduce them as long accents. The described difference was not considered significant in GE, whereas EE changed these accents to vertical ones. However, since it was also the last accent in b. 53 that was reproduced as vertical in EE, this change most probably was not related to the graphic representation of the accents in FE – arbitrary changes of accents to vertical ones are generally typical of EE – cf. b. 47-50. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE |
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b. 54
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composition: Op. 22, Polonaise
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In the main text we add an arpeggio before the L.H. chord, since in such a virtuoso texture, it is highly likely that this and the previous chord should be performed the same, even if the hand span allows for playing it simultaneously. The mark was also added in GE. The same in b. 198. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 55
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composition: Op. 22, Polonaise
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In the main text we give the synchronisation mark that comes from Chopin; it requires the first grace note, e category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Synchronization markings |
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b. 56
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composition: Op. 22, Polonaise
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The version of EE is most probably the initial version of this place, changed by Chopin in the last stage of proofreading of FE. In addition to its sound value, the added grace note may also facilitate the performance if played with the 1st finger. See also analogous b. 200 and the notes on the beginning and ending of the run in the next bar. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Main-line changes |
in 
1, to be performed simultaneously with bass E
