Issues : Authentic corrections of FE
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b. 59-60
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composition: Op. 22, Polonaise
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EE1 is lacking in the accidentals before the last semiquaver in b. 59 and the 4th note of the quintuplet in b. 60. These are patent mistakes – cf. the category imprint: Interpretations within context; Differences between sources issues: EE revisions , Cautionary accidentals , Omission of current key accidentals , Authentic corrections of FE , Errors repeated in EE |
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b. 62
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composition: Op. 22, Polonaise
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The version of EE is most probably the original version adopted from FE (or merely a Terzverschreibung), corrected in the very FE (→GE) in the last stage of proofreading. The same in b. 206. category imprint: Differences between sources; Corrections & alterations issues: Errors in FE , Terzverschreibung error , Authentic corrections of FE |
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b. 103
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composition: Op. 22, Polonaise
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In EE the last semiquaver of the 1st beat of the bar is written down as F category imprint: Differences between sources; Corrections & alterations issues: Enharmonic corrections , Authentic corrections of FE |
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b. 114
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composition: Op. 22, Polonaise
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EE1 is lacking in the cautionary category imprint: Differences between sources issues: EE revisions , Cautionary accidentals , Authentic corrections of FE |
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b. 122
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composition: Op. 22, Polonaise
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Two quavers in EE is the initial version, most probably authentic. In FE one can see that the dotted rhythm was introduced only just at the stage of proofreading. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Main-line changes , Dotted or even rhythm |
lowering d2 to d
2 in analogous b. 21 – probably committed still in [A], from which they got into 
before d3 at the end of b. 60. All 3 accidentals were also added in 
. In the penultimate stage of proofreading of 
