b. 259
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composition: Op. 44, Polonaise in F♯ minor
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In EE1 there is no to e3. The natural is not indispensable in this case, yet definitely advisable in the face of the before the 4th semiquaver in the bar at the same pitch. It was added by EE2 (→EE3). category imprint: Differences between sources issues: EE revisions , EE inaccuracies |
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b. 261
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composition: Op. 44, Polonaise in F♯ minor
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Chopin could have entered into [A] after Fontana had finished [FC]. In this case it seems slightly more likely than a possible oversight of the mark by the copyist or the engraver of FE, since a similar situation concerns also and in b. 267-268 (however, such serial oversights would happen both to Fontana and the engravers – cf., e.g. the ending of the Prelude in B minor, Op. 28 No. 16 or the Prelude in E major, Op. 28 No. 19, b. 28-32). Anyways, there are no doubts as to the authenticity of this indication; as nothing indicates that Chopin would have wanted to forgo it, we give it in the main text. category imprint: Differences between sources |
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b. 261-263
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composition: Op. 44, Polonaise in F♯ minor
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The absence of slurs in FE (→EE) must be considered an oversight of Chopin, Fontana or the engraver – slurs are present both in analogous b. 3-4 and later in the introduction, in b. 263-267. category imprint: Differences between sources |
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b. 261-265
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composition: Op. 44, Polonaise in F♯ minor
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In GE1 the L.H. octaves in b. 261-264 are written down with the use of con 8a. In FE (→EE) it is also the 1st beat of b. 265 that was written down in this way. The abbreviation was expanded only in GE2. category imprint: Differences between sources; Source & stylistic information issues: GE revisions , Abbreviated octaves' notation |
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b. 261-263
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composition: Op. 44, Polonaise in F♯ minor
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The L.H. slurs, added by GE2, are an arbitrary revision, probably related to the fact that the R.H. part was moved to the top stave (cf. b. 250-260). category imprint: Differences between sources; Source & stylistic information issues: GE revisions |