



Pedalling
b. 170-172
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composition: Op. 22, Polonaise
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One can have doubts whether holding pedal as long as to the last quaver in b. 170 and 172, like in FE, actually corresponds to Chopin's intention. The effect of the dominant and tonic chords temporarily overlapping could have been intentional; however, according to us, taking into account the pedalling markings of analogous b. 64 and 66, which are shorter and compliant with the harmonic course, one can assume that the markings in the discussed bars may be inaccurate. Due to this reason, in the main text we move the category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 171
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composition: Op. 22, Polonaise
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Just like in b. 27, the missing category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions |
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b. 174
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composition: Op. 22, Polonaise
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Just like in b. 30, in the main text we suggest adding pedalling markings after analogous b. 212. category imprint: Editorial revisions |
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b. 190
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composition: Op. 22, Polonaise
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Like in b. 46, of which the discussed bar is a literal repetition, we add a category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 197-198
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composition: Op. 22, Polonaise
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Similarly as in b. 53-54, of which the discussed bars are a literal repetition, in the main text we suggest a [ category imprint: Differences between sources; Editorial revisions issues: EE revisions |