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b. 268
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composition: Op. 22, Polonaise
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The second half of the bar is written in the sources even more carelessly than in b. 264. In FE (→GE1), there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Accidentals in different octaves , Omissions to cancel alteration , GE revisions , Errors repeated in GE , Errors repeated in EE |
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b. 268
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composition: Op. 22, Polonaise
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In the main text we suggest adding a wedge after analogous b. 264. category imprint: Editorial revisions |
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b. 269-272
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composition: Op. 22, Polonaise
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We place this and the next L.H. semiquavers between the last two semiquavers of a respective R.H. triplet, in accordance with the notation of the sources. However, according to us, it is uncertain whether it complies with the notation of [A] and with the performance intended by Chopin – in a figuration in the ending of the Variations in B category imprint: Source & stylistic information |
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b. 273-274
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composition: Op. 22, Polonaise
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The difference in the length of the accents, visible in FE between the accent in b. 273 & the 2nd accent in b. 274 and the remaining accents in b. 274-276, does not necessarily mean that they should be diversified. It may be a result of a different origin of these two accents, which were probably added only just in the last stage of proofreading of FE (it is supported by their absence in EE). The latter was inaccurately reproduced in GE1, which was then corrected in GE2 (→GE3). category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in GE , GE revisions , Authentic corrections of FE |