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b. 159-161
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composition: Op. 44, Polonaise in F♯ minor
..
A comparison with analogous b. 140-141 indicates that it is the oversight that is the most likely reason for the absence of the tie to e in GE. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 162-163
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composition: Op. 44, Polonaise in F♯ minor
..
The slur of the majority of the sources was probably inaccurately written by Chopin in [A]. It could also be the initial version, left by inadvertence, changed in the remaining places at the time of writing [A]. Therefore, in the main text we suggest a longer slur, compliant with all analogous bars (142-143 and 201-202). The slurring of those places was similarly standardised in GE2. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 162-164
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composition: Op. 44, Polonaise in F♯ minor
..
The pedal markings in b. 162 and 164 were probably introduced by Chopin into the basis for FE (→EE). In the former one can see in FE traces of the category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 163
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composition: Op. 44, Polonaise in F♯ minor
..
As was the case with b. 143, in the main text we include the delayed resolution of the a2 seventh Chopin introduced while proofreading FE (→EE). category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 165-166
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composition: Op. 44, Polonaise in F♯ minor
..
In the main text we add cautionary sharps to d2 and d3 in b. 165 as well as a category imprint: Editorial revisions |
mark having been moved a beat earlier in print, while misplacing a mark is much more likely when reproducing a manuscript than an entry in a proof copy. The first 
mark is placed in 
2 in 
to f
to d3 in b. 166.