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b. 196-197
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composition: Op. 44, Polonaise in F♯ minor
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The absence of pedal markings in these bars does not have to result from an oversight (by the engraver or by Chopin in [A]). The R.H. descends the lowest here, and Chopin could have considered that mixing melodic notes would be too perceptible (and striking). On the other hand, there is no particular reason to question the authenticity of the markings of FE (→EE), which could have been added in the stage of proofreading or to [FC]. Therefore, in the main text we give the indications of the principal source, while the version of GE may be considered a variant or a suggestion for a more discreet pedalling, shorter or shallower. category imprint: Differences between sources |
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b. 197
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composition: Op. 44, Polonaise in F♯ minor
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The second sixth in EE is a semiquaver, which is a patent mistake, although there is no visible reason for such an error – the most likely explanation seems to be that the semiquaver beam was added a great stave too high, i.e. instead of b. 203. category imprint: Interpretations within context; Differences between sources issues: Errors in EE |
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b. 198
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composition: Op. 44, Polonaise in F♯ minor
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The absence of pedal markings in this bar does not seem to be a mistake of GE – a typical Chopinesque harmonic pedal is not indispensable here, since all notes that are supposed to be heard are held with fingers. In this situation, the lonely category imprint: Differences between sources; Editorial revisions issues: EE revisions , No pedal release mark |
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b. 198-200
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composition: Op. 44, Polonaise in F♯ minor
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The slur, probably added by Chopin to the basis or in the stage of proofreading FE (→EE), most probably refers to the motifs of the middle voices – cf., e.g. b. 139-141 or 159-161. In the discussed place, the original layout does not allow for it to be placed closer to those motifs. category imprint: Differences between sources |
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b. 199-200
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composition: Op. 44, Polonaise in F♯ minor
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The tie to b was reproduced correctly only in EE2 (→EE3). The inaccuracies of the remaining editions resulted from the Chopinesque manner of writing down ties as short, quite thick curved lines, not running from a note to the other one, but placed next to the attached note (cf., e.g. the first page of the autograph of the Mazurka in G major, Op. 50 No. 1, particularly the e-e1 octaves in b. 18-20 and 22-24). In the discussed bars of the Polonaise, the parts of both hands (4 voices!) are written down on the bottom stave, which could have been an additional obstacle to the correct interpretation and reproduction of that tie. There is a similar situation two bars later. The slur of FE (→EE) over b. 198-200, which ends in the same place, is discussed separately. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in GE |
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