mUltimate Chopin

Op. 22, Polonaise

Text Compare Notes Sources Description

Issues : GE revisions

b. 73-74

composition: Op. 22, Polonaise

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In the main text we add a cautionary  before b2 in b. 73. The accidental was already added in GE as well as in EE2. Moreover, we add flats lowering c1 to c1 in b. 73 and c to c in b. 74, overlooked in FE. The former was added both in GE and EE, while the latter only in GE and EE2.

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

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , Errors repeated in EE

b. 76

composition: Op. 22, Polonaise

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In FE the dyad of the bottom voice (e1-a1) is a crotchet. The patent mistake was corrected both in GE and EE. The same in b. 220.

category imprint: Interpretations within context; Differences between sources

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

b. 78-79

composition: Op. 22, Polonaise

2 slurs in FE (→GE1)

3 slurs in EE & GE2 (→GE3)

2 slurs suggested by the editors
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The slurs combining the bass octaves at the transition between b. 78 and 79 are marked inaccurately in FE – in b. 78, which closes the page, there is only the slur that runs from d, whereas in b. 79 there are 2 slurs on the bottom stave, reaching c and C. Therefore, it is highly likely that, like the motifs in b. 77 and 81, Chopin marked the discussed pair with two slurs between the parts of both hands. In the main text we move these slurs outside the text, which seems to be clearer. EE and GE2 (→GE3) also considered that Chopin's notation required a change – a slur was added between the topmost notes of the octaves, on the top stave.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in FE , GE revisions , Uncertain slur continuation

b. 92

composition: Op. 22, Polonaise

e1 in FE (→GE1,EE)

e1 in GE2 (→GE3), contextual interpretation of remaining sources
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In FE (→EE,GE1) before the 8th note from the end of the bar, there is no  specifying e1, which must be an oversight. While the semitone chromatic steps in the first part of the figuration in b. 91-92 are built around the f-a-c-e diminished seventh chord, from the 6th small quaver on, the harmonic overtone of the figuration moves towards the fully diatonic key of G major, which is signalised by e2 exposed as the 7th and 13th small quavers. Therefore, in the main text we clearly give e1, which was already introduced in GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Omission of current key accidentals

b. 93

composition: Op. 22, Polonaise

d repeated in FE (→GE1)

d tied in EE & GE2 (→GE3)

d tied, our suggestion
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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