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b. 221
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composition: Op. 22, Polonaise
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It is difficult to explain how the risoluto indication was replaced in EE by brillante. It was probably an arbitrary decision of the publisher, although it could have also been the initial version, changed by Chopin in FE (→GE) in the last stage of proofreading. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 222
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composition: Op. 22, Polonaise
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The change of the wedge to a staccato dot is probably a revision of GE, in which the wedge, absent both in the preceding R.H. and L.H. figures and in the identical figure in b. 226, was considered a mistake. Indeed, a mistake of the engraver of FE at the time of interpreting [A] cannot be ruled out; however, since the repetition of this fragment (b. 242) is also provided with a wedge in FE, we keep this version, probably authentic. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 223
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composition: Op. 22, Polonaise
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In the main text we suggest adding an accent at the beginning of this bar. The accent is featured in two out of three repetitions of this bar (in b. 227 and 247), and, according to us, it is the composer's inadvertence or a mistake of the engraver of FE that are the most likely reasons for its absence. There is a similar situation in b. 243. category imprint: Editorial revisions |
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b. 223-224
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composition: Op. 22, Polonaise
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The missing staccato dots under the bass octaves at the beginning of these bars must be an inaccuracy of notation. Dots are present in analogous b. 227-228 and 247-248 as well as 244. After all, the staccato articulation results here from the very piano texture, hence we do not signalise the addition of the marks with brackets. category imprint: Editorial revisions |
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b. 223
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composition: Op. 22, Polonaise
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The version of EE1, repeated then in all analogous bars (b. 227, 243 and 247), could have been the initial version of these bars. However, it seems to be more likely that we are dealing here with Chopin's inadvertence, corrected in the penultimate stage of proofreading of FE (→GE). The correction was also introduced in EE2, probably on the basis of GE1. The a1 note is featured in the violas part, yet only just on the 3rd beat of the bar (after the rests). category imprint: Interpretations within context; Differences between sources issues: EE revisions , Omission of current key accidentals , Authentic corrections of FE , Last key signature sign |
1-a1 in 