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b. 29
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we include the undoubtedly Chopinesque fingering digit from GE. See the note below. category imprint: Differences between sources |
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b. 30
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composition: Op. 44, Polonaise in F♯ minor
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The version of GE could have resulted from a double interpretation of the mark resembling a vertical curved line (with which Chopin most probably marked the arpeggio in [A]). Engravers would often work in stages, i.e. an entire page of noteheads, then beams, slurs, ornaments, etc., hence it is likely that the slur was engraved at the stage of slurs, while the arpeggio at the stage of ornaments. category imprint: Differences between sources issues: Inaccuracies in GE , Errors in EE , Arpeggio – vertical slur |
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b. 30
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composition: Op. 44, Polonaise in F♯ minor
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The missing small notes in the ending of the trill are probably an inaccuracy of the Chopinesque notation in the first appearance of this motif, hence we add them in brackets after analog. b. 56, 106 and 289, as it was performed in EE2 (→EE3). category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 30-33
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composition: Op. 44, Polonaise in F♯ minor
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To the main text we adopt the version of the principal source, i.e. FE, since it was the latest one controlled by Chopin. It is compliant with the slurring of analogous b. 56-59 and 289-292 present in all sources. The version of GE, probably also authentic, can be considered a variant. category imprint: Differences between sources |
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b. 31
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composition: Op. 44, Polonaise in F♯ minor
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The notation of GE, in which the slur runs from the grace note to the bottom note of the octave, is formally correct and means that the octave should be played simultaneously after the grace note. The same meaning is carried by the notation of EE and GE2, in which all slurs were overlooked (probably accidentally). It is also the notation of FE that could be considered correct, according to which the arpeggio should begin from the top note. However, a comparison with the notation of FE in analog. b. 57 and 290, in which the vertical slur placed directly before the octave certainly marks an arpeggio, makes us consider the similar slur in the discussed bar to be inaccurately reproduced and also marking an arpeggio of the octave according to Chopin. Then all three analogous places would be performed the same – a grace note and an arpeggiated octave. Therefore, we suggest this version (constituting a rhythmic analogy to b. 27) in the main text. category imprint: Differences between sources issues: Inaccuracies in GE , Errors in EE , Errors in GE , Arpeggio – vertical slur |
