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b. 78-79
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composition: Op. 22, Polonaise
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The slurs combining the bass octaves at the transition between b. 78 and 79 are marked inaccurately in FE – in b. 78, which closes the page, there is only the slur that runs from d category imprint: Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in FE , GE revisions , Uncertain slur continuation |
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b. 78-83
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composition: Op. 22, Polonaise
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Under b. 78-79 and 82-83, both L.H. octaves are marked in the sources in an abridged manner with the digits 8. category imprint: Editorial revisions issues: Abbreviated octaves' notation |
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b. 78
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composition: Op. 22, Polonaise
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A comparison with analogous b. 82 points to a highly likely oversight of the L.H. wedge in FE (→GE1). Therefore, we add this mark in the main text; it is also in EE. In turn, in GE1a, due to the graphic retouches performed in this fragment of the page, the R.H. wedge was overlooked, which was repeated in GE2 (→GE3). category imprint: Differences between sources; Editorial revisions issues: EE revisions , Errors in GE |
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b. 78
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composition: Op. 22, Polonaise
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Due to the graphic retouches performed in this fragment of the page, GE1a overlooked the demisemiquaver R.H. beams on the 2nd beat of the bar, as a result of which it contains 5 semiquavers. Similarly, the e category imprint: Interpretations within context; Differences between sources |
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b. 78
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composition: Op. 22, Polonaise
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Due to the graphic retouches performed in this fragment of the page, GE1a overlooked the slurs over the last two pairs of octaves in the ascending L.H. sequence. See the description of this impression. category imprint: Differences between sources |
, whereas in b. 79 there are 2 slurs on the bottom stave, reaching c and C. Therefore, it is highly likely that, like the motifs in b. 77 and 81, Chopin marked the discussed pair with two slurs between the parts of both hands. In the main text we move these slurs outside the text, which seems to be clearer. 
