Articulation, Accents, Hairpins
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b. 47-50
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composition: Op. 22, Polonaise
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The change of accents to vertical ones is a quite frequent arbitrary action of EE. In this case, they were additionally moved over the stave, which could be considered justified by the property of piano sound – accented notes sound longer. Interestingly, in analogous b. 191-194 EE inserted authentic, horizontal accents. category imprint: Differences between sources issues: EE revisions |
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b. 48-49
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composition: Op. 22, Polonaise
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The engraver of EE most probably confused these bars, hence the transfer of the accent. category imprint: Differences between sources issues: Errors in EE |
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b. 51
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composition: Op. 22, Polonaise
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According to us, the accent was added here – probably by Chopin – due to the absence of the slurs, overlooked in FE (see the note below). In the main text we do not include this mark, since we add the slurs, and it is impossible to decide whether Chopin, upon seeing them, would have added an accent. category imprint: Differences between sources |
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b. 52-53
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composition: Op. 22, Polonaise
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In the main text we add staccato dots under the B category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 53-54
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composition: Op. 22, Polonaise
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Three accents in b. 54 are slightly longer in FE, moved to the right and inclined, which, according to us, means that a different accent should be applied (with respect to the previous ones). Therefore, in the main text we reproduce them as long accents. The described difference was not considered significant in GE, whereas EE changed these accents to vertical ones. However, since it was also the last accent in b. 53 that was reproduced as vertical in EE, this change most probably was not related to the graphic representation of the accents in FE – arbitrary changes of accents to vertical ones are generally typical of EE – cf. b. 47-50. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE |
1 bass notes in these bars. There is no doubt that they should be performed with the same articulation as b. 51, hence Chopin could have considered the dot put the first time to be enough. It cannot be ruled out that the engraver of 
