Ornaments
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b. 29
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composition: Op. 22, Polonaise
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In the main text we change category imprint: Editorial revisions |
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b. 54
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composition: Op. 22, Polonaise
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In the main text we add an arpeggio before the L.H. chord, since in such a virtuoso texture, it is highly likely that this and the previous chord should be performed the same, even if the hand span allows for playing it simultaneously. The mark was also added in GE. The same in b. 198. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 55
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composition: Op. 22, Polonaise
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In the main text we give the synchronisation mark that comes from Chopin; it requires the first grace note, e category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Synchronization markings |
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b. 56
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composition: Op. 22, Polonaise
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The version of EE is most probably the initial version of this place, changed by Chopin in the last stage of proofreading of FE. In addition to its sound value, the added grace note may also facilitate the performance if played with the 1st finger. See also analogous b. 200 and the notes on the beginning and ending of the run in the next bar. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Main-line changes |
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b. 67
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composition: Op. 22, Polonaise
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category imprint: Differences between sources issues: Errors in GE |
in sources
suggested by the editors
Major, Op. 64 No. 1, b. 20 and 92); moreover, taking into account the fact that b. 173 was most probably printed on the basis of the same notation of [A] as b. 29, there is a high likelihood that it is a mistake. In any case, both marks generally indicate the same performance when placed over small rhythmic values in faster tempi.
