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Op. 22, Polonaise

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 111-112

composition: Op. 22, Polonaise

Short accents in FE (→GE,EE)

Long accents suggested by the editors
..

We reproduce the four accents over the L.H. chords as long accents. According to us, they emphasise characteristic two-note motifs, used by Chopin on a number of occasions in other pieces. In the Etude in G Major, Op. 10 No. 5, b. 17-21, in the proofread version of the French edition, the motifs were provided with marks that were almost certainly long accents according to the composer's intention.
The same in b. 119.

category imprint: Editorial revisions

issues: Long accents

b. 119-120

composition: Op. 22, Polonaise

..

Just like in b. 111, in the main text we give long accents in b. 119. We also add them in b. 120 after b. 112.

category imprint: Editorial revisions

issues: Long accents

b. 121

composition: Op. 22, Polonaise

Staccato dot in FE (→EE)

No mark in GE
..

The missing staccato dot over a2 in GE may simply be an oversight; however, it cannot be ruled out that the mark was omitted on purpose as allegedly conflicting with the continuous slur over this note.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 126

composition: Op. 22, Polonaise

in FE (→GE) & EE2

No sign in EE1
..

The  hairpin, unless overlooked in EE1, was added in the later stage of proofreading of FE (→GE).

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Errors in EE , Authentic corrections of FE

b. 129-130

composition: Op. 22, Polonaise

Horizontal accents in FE (→GE)

Vertical accents in EE
..

The change of the font of accents to vertical is a typical mannerism of EE.

category imprint: Differences between sources

issues: EE revisions