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Issues : Authentic corrections of FE
b. 20
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composition: Op. 22, Polonaise
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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 |
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b. 45
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composition: Op. 22, Polonaise
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FE repeated a category imprint: Differences between sources issues: Authentic corrections of FE |
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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. 57
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composition: Op. 22, Polonaise
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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 b category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Main-line changes |
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b. 57
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composition: Op. 22, Polonaise
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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 |