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Op. 22, Polonaise

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b. 75

composition: Op. 22, Polonaise

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The sources are lacking in the  raising b to b, which is a patent inaccuracy. The same in b. 219.

category imprint: Interpretations within context

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

b. 84

composition: Op. 22, Polonaise

b2-d3-b3 in sources

g3-b3-g4 suggested by the editors
..

According to us, there is no doubt that Chopin was forced to abandon the action of moving the chord an octave higher, which is pianistically natural and typical of virtuoso cadenza formulas – cf. b. 80 – only due to the limited range of the piano.

category imprint: Editorial revisions

b. 88

composition: Op. 22, Polonaise

Three-note chord in FE (→GE)

Four-note chord in EE
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The version of EE is most probably erroneous – it could be, e.g. an unfinished correction of a Terzverschreibung, in which the correct note was added without removing the erroneous one. The additional note distorts the consistent and perfectly sounding sequence of the top three accompaniment voices.

category imprint: Differences between sources

issues: Errors in EE

b. 92

composition: Op. 22, Polonaise

e1 in FE (→GE1,EE)

e1 in GE2 (→GE3), contextual interpretation of remaining sources
..

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. 97

composition: Op. 22, Polonaise

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In FE, there is no accidental next to the top note of the penultimate triplet. The patent inaccuracy was corrected in EE and GE2 (→GE3). There is a similar situation in the further part of the passage.

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

issues: EE revisions , Accidentals in different octaves , GE revisions