Issues : Cautionary accidentals
b. 261-263
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composition: Op. 22, Polonaise
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In the entire three-bar chromatic sequence, in the main text we suggest a few cautionary accidentals in the R.H. part – of g in b. 261, of a1 in b. 262 and of e1 and of f1, g1 in b. 263. In turn, we omit the flats before b1 and b in b. 262 present in the sources. category imprint: Editorial revisions issues: Cautionary accidentals |
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b. 264
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composition: Op. 22, Polonaise
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The notation of the last two quavers is inaccurate in the sources, since Chopin most probably considered the manner in which he wrote the chord on the 4th quaver of the bar – c1-f1-a1-e2-a2 – to be sufficient in order to mark the return to the main key of E major. Consequently, there is no accidental before the chord on the 5th quaver in FE (→EE,GE1→GE2), while the last quaver is lacking in the restoring B. On the other hand, all sources contain cautionary naturals before d2-d3 in the last R.H. chord, unnecessary if we assume that the preceding chord was interpreted correctly. A revision of this notation was performed only in GE3, and then incomplete, since it was only the restoring b that was added. In the main text we add both necessary flats (restoring b and B); we also add 3 cautionary accidentals – of g1 and the flats of b1-b2. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Errors in FE , Omissions to cancel alteration , GE revisions , Cautionary accidentals , Errors repeated in GE , Errors repeated in EE |
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b. 265-267
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composition: Op. 22, Polonaise
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In the entire three-bar chromatic sequence, in the main text we suggest a few cautionary accidentals in the R.H. part – of g1 in b. 265, of a2 in b. 266 and of e2 and of f2, g2 in b. 267. In turn, we omit the naturals before d and d1 present in the sources in b. 266. category imprint: Editorial revisions issues: Cautionary accidentals |