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Op. 44, Polonaise in F♯ minor

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b. 262

composition: Op. 44, Polonaise in F♯ minor

tempo di Polacca in GE1 & FE (→EE)

No indication in GE2
..

Omitting the second part of the tempo indication in GE2 could have seemed logical – Tempo I clearly defines the tempo of the returning main polonaise section of the piece. However, we must take into account the fact that at the beginning of the piece there are no indications concerning the tempo and nature of the composition, since it is obvious due to the title, i.e. Polonaise. In the discussed place, however, the title is not visible, which most probably prompted Chopin to specify the tempo.

The sources contain various forms of the conventional Tempo I indication, which we standardise:

  • GE1 – Tempo 1mo,
  • FE – Tempo 1o,
  • EE – Tempo Io,
  • GE2 – Tempo I.

We also correct the spelling mistake in the word "Pollacca" (double 'l') in FE. We reproduce the original versions in the graphic transcription (version "transcript"). See also General Editorial Principles, p. 9.

category imprint: Differences between sources

issues: GE revisions

b. 263-264

composition: Op. 44, Polonaise in F♯ minor

..

In GE2 b. 263-264 fall between the lines, which could have caused the later start of the slur.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 263-267

composition: Op. 44, Polonaise in F♯ minor

Continuous slur in GE

2 slurs in FE (→EE)
..

The division of the slurs in FE (→EE) could have been caused by, e.g. an inaccurate notation of the handwritten basis in the transition to a new line. Therefore, in the main text we give the slur of GE, which does not raise any source or stylistic doubts.

category imprint: Differences between sources

b. 267

composition: Op. 44, Polonaise in F♯ minor

in GE

cresc. - - continued in FE (→EE)
..

The absence of  in FE (→EE) could be explained by an oversight or by the fact that it was entered into [A] after [FC] had been finished. Anyways, it is highly unlikely that Chopin would have removed that indication on purpose, hence we give it in the main text. In turn, the status of the dashes marking the range of cresc. having been led to the end of the bar is unclear. It could be an inaccuracy of the copyist or of the engraver of FE; however, one could imagine a scenario in which they are an authentic alternative to  – if the proof copy of FE1 had not contained cresc. - - either, Chopin could have added it with such a range of dashes.

category imprint: Differences between sources

b. 268

composition: Op. 44, Polonaise in F♯ minor

in GE

No mark in FE (→EE)
..

As was the case with  in b. 261 and with  in b. 267, another missing dynamic marking in FE (→EE) points to additions (entered by Chopin into [A] after [FC] had been finished) as the most likely explanation for the differences.

category imprint: Differences between sources