|
b. 56-60
|
composition: Op. 44, Polonaise in F♯ minor
..
In GE the trills in b. 56 and 60 are written without a wavy line after category imprint: Differences between sources; Editorial revisions |
||||||||
|
b. 57
|
composition: Op. 44, Polonaise in F♯ minor
..
As was the case with analogous b. 31, the slur of GE, although formally correct, is most probably inaccurate and marks a grace note and an arpeggio (written down as a vertical slur), as was conveyed in FE. The absence of a slur (arpeggio) in EE, whatever the reason, cannot be authentic. category imprint: Differences between sources issues: Inaccuracies in GE , Errors in EE , Arpeggio – vertical slur |
||||||||
|
b. 57
|
composition: Op. 44, Polonaise in F♯ minor
..
On the 3rd beat of the bar we suggest supplementing the Chopinesque pedalling after analogous b. 31. category imprint: Editorial revisions |
||||||||
|
b. 58-59
|
composition: Op. 44, Polonaise in F♯ minor
..
In FE1 there is not a single category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , Omission of current key accidentals , FE revisions , Errors repeated in FE |
||||||||
|
b. 59
|
composition: Op. 44, Polonaise in F♯ minor
..
In the main text we add an arpeggio mark after a comparison with analogous b. 33 as well as with b. 109. In the case of chords with such a span, Chopin most probably meant the marks placed in those bars before the first chord to apply to all the following ones in this and analogous bars. category imprint: Editorial revisions |
& 
& 
] suggested by the editors
raising g
to g (in various octaves). The mistake, almost certainly committed by Chopin, was corrected in 
