mUltimate Chopin

Op. 22, Polonaise

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Rhythm

b. 93

composition: Op. 22, Polonaise

d repeated in FE (→GE1)

d tied in EE & GE2 (→GE3)

d tied, our suggestion
..

According to us, a comparison with the next bar, in which d is tied, makes it highly likely that the tie in the discussed bar was accidentally overlooked. This is how it was evaluated in EE and GE2 (→GE3).

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 94

composition: Op. 22, Polonaise

G tied in FE (→EE)

G repeated in GE
..

The missing tie of G is most probably a mistake of the engraver of GE.

category imprint: Differences between sources

issues: Errors in GE

b. 94

composition: Op. 22, Polonaise

b repeated in FE (→EE)

b tied in GE

b tied, our suggestion
..

A comparison with the previous bar, in which b is tied, makes it likely that the tie was accidentally overlooked. The tie was added in GE.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 95

composition: Op. 22, Polonaise

Semiquaver in FE, possible interpretation

Quaver in GE & EE

Quaver suggested by the editors
..

In FE the bar opens with a semiquaver in the R.H. and a quaver in the L.H. It is a mistake, yet it is unclear which value is correct:

  • a quaver requires the following 3 semiquavers to be considered a triplet. Such a rhythm naturally develops the scheme used in the previous bars – both the starting point of the new motif on the 2nd quaver of the bar and the homogeneous semiquaver triplet movement are preserved. We give this version in the main text (we also mark the triplets), adopted in EE and GE, also due to association with the polonaise rhythm;
  • a semiquaver is less obvious in this context, yet one cannot rule it out – such a rhythmic diversification of a recently heard model absolutely corresponds to the Chopinesque style. Such an understanding of this rhythm is supported by the layout of the notes in FE, which proves that the engraver was convinced that he was dealing with four regular semiquavers.

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

issues: EE revisions , Errors in FE , GE revisions , Rhythmic errors

b. 97

composition: Op. 22, Polonaise

..

In FE (→EE) the 1st rest in the parts of both hands is a demisemiquaver, which is a mistake (it is likely that the beginning of this bar was confused with the previous one). The mistake was corrected in GE.

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

issues: Errors in FE , GE revisions , Rhythmic errors , Errors repeated in EE