Issues : Authentic corrections of FE

b. 20

composition: Op. 22, Polonaise

Dotted crotched in FE (→GE)

Crotchet in EE

Crotchet tied to quaver suggested by the editors

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In the main text we change the way the extension of the f bass note was written – the notation used by Chopin in analogous b. 168 seems to be clearer in this context. The missing extension of f in EE may be explained by an oversight of the engraver or by a later correction performed in FE.

category imprint: Differences between sources; Editorial revisions

issues: Different values of chord components , Errors in EE , Authentic corrections of FE

b. 45

composition: Op. 22, Polonaise

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FE repeated a  before a, the bottom note of the penultimate L.H. quaver. The absence of this accidental in the remaining sources could have been a result of revision, since it is not necessary here. Due to the fact that unnecessary accidentals were removed in the earliest impressions of first editions only sporadically (cf., e.g. b. 41), it is more likely, according to us, that this  was added in the last stage of proofreading of FE. The same applies to b. 189.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 56

composition: Op. 22, Polonaise

Grace note in FE (→GE)

No grace note in EE

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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

b. 57

composition: Op. 22, Polonaise

b2-a2 in FE (→GE)

a2-g2 in EE

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Just like in b. 56, the version of EE is earlier and was corrected by Chopin in FE (→GE) in the last stage of proofreading. It is indicated by, e.g. numerous small traces of corrections performed in print, visible in FE. In the final version, the course of the melodic line from the b2 crotchet at the beginning of the bar to the f2 quaver in the next one is more consistent and distinct.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Main-line changes

b. 57

composition: Op. 22, Polonaise

Run begins with b2 in FE (→GE)

Run begins with g2 in EE

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It is unclear whether the version of EE is the original notation, changed in FE (→GE) in the penultimate stage of proofreading, or a revision of EE. According to us, the former is much more likely.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Authentic corrections of FE