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Op. 22, Polonaise

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Verbal indications

b. 1-15

composition: Op. 22, Polonaise

No indications in sources

[Cor.] i [pizz.] suggested by the editors
..

In the sources, the fragments that are performed without solo piano in the orchestral version do not contain any indications concerning the instrumentation in the version for solo piano. In b. 1 and 15, in which an indication of an authentic instrumentation concept could be inspiring for the pianist, we add these indications in the main text based on the original orchestral voices. It is compliant with the custom adopted in the first editions of all the remaining pieces with orchestra composed by Chopin, which is also confirmed by the preserved autographs of the Variations, Op. 2, the Krakowiak, Op. 14 and the Concerto in F Minor, Op. 21 (e.g. in the 2nd mov., b. 2-5).

category imprint: Editorial revisions

b. 1

composition: Op. 22, Polonaise

No heading in FE (→EE1)

POLONAISE in GE & EE2

[POLONAISE] suggested by the editors
..

In spite of the title, which clearly indicates that the piece is a polonaise, there is no indication that it is here that the actual polonaise begins, which we consider an oversight and correct it in the main text. It was already GE that introduced a relevant addition; it is also in EE2, most probably on the basis of GE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 5

composition: Op. 22, Polonaise

in FE (→GE)

in EE
..

 is probably a revision of EE – repetition of  could have seemed superfluous. There is also a possibility, although, according to us, highly unlikely, that this indication was initially also in FE, in which Chopin, however, changed it to  in the last stage of proofreading. After all, the composer's intention is not obvious here if we take into account the crescendi filling the following 6 bars. The orchestral voices also do not dissipate our doubts, since the cellos and double basses are provided with , yet violins and violas – with  (the remaining voices are devoid of dynamic markings here).

category imprint: Differences between sources

issues: EE revisions , fz – f

b. 26

composition: Op. 22, Polonaise

No marking in FE (→GE,EE)

[] suggested by the editors
..

The missing  must be an oversight, since this indication is both in analogous b. 64 and b. 170, which was most probably marked in [A] in an abridged manner as repetition of b. 26.

category imprint: Editorial revisions

b. 131-132

composition: Op. 22, Polonaise

dim. in bar 132 in FE (→GE)

dim. in bar 131 in EE
..

The fact that dim. appears earlier is probably the initial version of this fragment's dynamics, changed by Chopin in the penultimate stage of proofreading of FE (→GE). In addition to moving this indication, Chopin probably added a long accent at the beginning of b. 132, emphasising the moment from which the diminuendo should begin.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE