mUltimate Chopin

Op. 22, Polonaise

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b. 57

composition: Op. 22, Polonaise

b2-a2 in FE (→GE)

a2-g2 in EE
..

Just like in b. 56, the version of EE is earlier and was corrected by Chopin in FE (→GE) in the last stage of proofreading. It is indicated by, e.g. numerous small traces of corrections performed in print, visible in FE. In the final version, the course of the melodic line from the b2 crotchet at the beginning of the bar to the f2 quaver in the next one is more consistent and distinct.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Main-line changes

b. 57

composition: Op. 22, Polonaise

Run begins with b2 in FE (→GE)

Run begins with g2 in EE
..

It is unclear whether the version of EE is the original notation, changed in FE (→GE) in the penultimate stage of proofreading, or a revision of EE. According to us, the former is much more likely.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Authentic corrections of FE

b. 57

composition: Op. 22, Polonaise

..

In the main text we add a  before e2, the 10th note from the end of the bar. Due to the previous  before e3, this accidental was sometimes considered superfluous – it is absent in FE (→GE1) – yet it was added in EE and GE2 (→GE3). Moreover, we add a cautionary  before b2 by the end of the run.

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

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

b. 57

composition: Op. 22, Polonaise

..

The sources are lacking in the accidental before the 2nd played note of the run. It must be Chopin's mistake (one of the most frequent ones – oversight of an alteration's cancellation), since a2 would have suggested a turn towards B major (G minor), and not F minor, whose dominant we are about to hear. Due to the absence of this accidental, a2 should also be in the ending of the run.

category imprint: Interpretations within context; Editorial revisions

issues: Omissions to cancel alteration , Errors repeated in GE , Errors repeated in EE

b. 57

composition: Op. 22, Polonaise

L.H. part in FE (→GE)

L.H. part & slur in EE

L.H. part suggested by the editors

L.H. part & slur suggested by the editors
..

The notation of the sources, in which the L.H. is written under the R.H. in a way suggesting that the run should start right after the b-g1 quaver is almost certainly erroneous. If performed so, the beginning of the passage, descending from d4 and clearly based on the C7 chord, would fall on the g-e1 quaver, constituting an E major chord along with the previous ones. Due to this reason, in the main text we distribute the L.H. part in accordance with the rhythmic values of the first two R.H. notes and with the harmonic sense of the figuration written in small notes.
Moreover, in the main text we suggest adding a L.H. slur after similar figures in the preceding bar as well as in b. 17-18. A slur, running from the first out of two semiquavers, was also added in EE.
The same in b. 201.

category imprint: Interpretations within context; Editorial revisions

issues: Inaccuracies in FE