Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
(Op. 4), Sonata in C minor
Op. 44, Polonaise in F♯ minor
These bars appear five times throughout the Polonaise (with minor changes), i.e. also in b. 49-50, 75-76, 282-283 and 308-309. Each time the version of FE contains fewer empty octaves than GE, which almost certainly resulted from the additions Chopin performed while proofreading FE1. On the one hand, their aim was to unify the parts of both hands in the sequences of parallel octaves and chords; on the other hand, they were meant to enhance the presence of d(2) notes, which somehow prepare the syncopated D7 chords in b. 24-25.
category imprint: Differences between sources; Corrections & alterations
issues: Accompaniment changes, Authentic corrections of FE
notation: Pitch
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