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b. 60

composition: Op. 44, Polonaise in F♯ minor

..

In the sources there is no  over , which is a patent inaccuracy, most probably repeated after [A].

category imprint: Interpretations within context

issues: Omission of current key accidentals

b. 60-61

composition: Op. 44, Polonaise in F♯ minor

Slur to end of bar 60 in GE

Slur to bar 61 in FE (→EE)

..

In the main text we give the shorter slur of GE, since there is no reason to differentiate between slurs here and in analogous b. 34-35, in which all sources contain a compliant version with the slur reaching only the end of the bar. However, the version of FE (→EE) may be considered equal, since the slur of [A] could have been inaccurate, e.g. it could have ended over the key signature of the new key, which resulted in different interpretations. Musically speaking, both slurs are justified due to the phrases having been combined at the beginning of b. 61.
The same applies to b. 293-294.

category imprint: Differences between sources

b. 61-62

composition: Op. 44, Polonaise in F♯ minor

..

The crotchets visible in the L.H. part at the beginning of b. 61 and 62 in FE1 resulted from the engraver having overlooked a quaver flag or beam. In FE2 and EE1 it was only b. 62 that was corrected, hence in that group of editions it is only EE2 (→EE3) that includes the correct text, compliant with GE1 and analogous b. 294-295. The quaver flag in b. 61 was overlooked in GE2 too.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , FE revisions

b. 61

composition: Op. 44, Polonaise in F♯ minor

Crotchet f1-f2 in GE

Crotchet f2 in FE (→EE)

Dotted crotchet f1-f2, our alternative suggestion

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As is the case with the remaining similar bars, in FE (→EE) it is only the top note of the 1st R.H. octave that is separated as a crotchet. It is almost certainly an inaccuracy; in the main text we give the notation of GE. The suggestion of an additional, alternative version of this place results from the failure to provide a justification for the differentiation between the rhythmic values of the bottom and top (tied) notes of that octave. According to us, it may be a remaining element of the corrections performed in [A] or in a still earlier draft autograph – Chopin could have e.g. started from an analogous version to b. 35, in which f1 is repeated on the 2nd beat of the bar, and could have left that notation (for a reason), although he abandoned that repetition in this place. The fact that the sound issues are not involved in this case is evidenced by the text in b. 62, in which the 1st half of the bar is identical (except this detail). The difference in sound is actually minimal, which could have prevented Chopin from possible changes in the later stages of preparing the Polonaise for print.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Inaccuracies in FE

b. 61-64

composition: Op. 44, Polonaise in F♯ minor

Slurs from E to g in GE1 (contextual interpretation) & FE (→EE)

Slurs from F1 to a in GE2

Slurs from E to a, our alternative suggestion

..

In the main text we give the unquestionable slurs of FE (→EE). The fact that the slurs of GE1 begin earlier can reflect the inaccurate notation of [A], which most probably marked slurs of the same range. The version of GE2 must be arbitrary. Our alternative suggestion is based on an assumption that the endings of the slurs could have been routinely revised by the engravers.
The same applies to b. 294-297.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Inaccuracies in GE , GE revisions