Issues : EE revisions

b. 126

composition: Op. 22, Polonaise

Quavers in FE (→EE1)

Semiquavers in GE & EE2

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Just like in b. 125, the version of GE is an arbitrary decision of the engraver, repeated in EE2.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 126

composition: Op. 22, Polonaise

in FE (→GE) & EE2

No sign in EE1

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The  hairpin, unless overlooked in EE1, was added in the later stage of proofreading of FE (→GE).

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Errors in EE , Authentic corrections of FE

b. 128

composition: Op. 22, Polonaise

in FE (→EE1)

Quaver in GEEE2 & FED

Quaver & crotchet d, our alternative suggestion

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The fact that the version of FE (→EE1) is erroneous is proven by:

  • missing resolution of the eseventh of the ninth chord without prime (from the previous bar) in the piano part, natural in this context;
  • correction of this note to in FED;
  • in the cellos part – situations in which the orchestra part implements a different bass note than the one resulting from the piano part, very rare in Chopin's oeuvre, are generally absent in the Polonaise;

The change of this note to was introduced in GE and – probably on the basis thereof – in EE2.

The issue concerning the extension of this note – see the note above.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in FE , Terzverschreibung error , GE revisions

b. 129-130

composition: Op. 22, Polonaise

Horizontal accents in FE (→GE)

Vertical accents in EE

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The change of the font of accents to vertical is a typical mannerism of EE.

category imprint: Differences between sources

issues: EE revisions

b. 129

composition: Op. 22, Polonaise

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In EE1 the L.H. octave on the 2nd beat of the bar is an E-e. The patent mistake was corrected in EE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE , Terzverschreibung error