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b. 122
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composition: Op. 44, Polonaise in F♯ minor
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Naturals instead of flats before the last demisemiquaver (in both hands) is probably a mistake of the engraver of GE1, repeated in GE2. In turn, in EE we can assume a revision, since an analogous version with c notes is also in b. 98 there. category imprint: Differences between sources issues: EE revisions , Errors in EE , Errors in GE |
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b. 125-126
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composition: Op. 44, Polonaise in F♯ minor
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The slurring was most probably changed by Chopin in the basis for FE together with the matching system of beams. However, the new, longer phrase mark was reproduced inaccurately in FE – the ending of the phrase mark in b. 126, at the end of the page (like in our transcription), suggests that it should be continued in the next bar, in which, however, there is no ending of that phrase mark. We consider the a crotchet in b. 127, which ends the phrase, having been left outside the phrase mark to be a mistake; therefore, in the main text we lead the phrase mark to that note. category imprint: Graphic ambiguousness; Differences between sources |
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b. 125
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composition: Op. 44, Polonaise in F♯ minor
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From this bar on, the hitherto homogenous (in spite of numerous inaccuracies) articulation markings change. In particular, the hitherto consistently kept difference between the range of the slurs of GE and FE is reduced in favour of shorter slurs. In FE the shorter slurs are accompanied by no staccato dots over the a1 quavers, hence it is likely that we are not dealing with inaccuracies (cf. subtle changes in articulation in the ending of the Etude in A minor, Op. 25 No. 4, b. 62). As the text of GE is identical, we give this version in the main text. In EE the slurs were prolonged after the previous bars in FE (→EE). category imprint: Differences between sources issues: EE revisions |
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b. 125
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composition: Op. 44, Polonaise in F♯ minor
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According to us, the category imprint: Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 127-130
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we include the phrase mark of FE (→EE) in b. 127-128, since there are no reasons to doubt its authenticity. Moreover, we suggest adding an analogous phrase mark in the next two bars. In the main text we follow FE (→EE) and suggest the missing phrase marks in square brackets. category imprint: Differences between sources; Editorial revisions issues: Authentic corrections of FE |
(2) in 
in 
), most probably target, a common prolongation of the diminuendo by a fraction of a bar seems to be insignificant, hence it is highly unlikely that Chopin could have written it down in such a form. Due to the above reason, we suggest two possible interpretations of this mark, which are, according to us, more likely in this context.
