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Op. 44, Polonaise in F♯ minor

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Pitch

b. 172

composition: Op. 44, Polonaise in F♯ minor

b1 in GE & EE2 (→EE3)

b1 in FE (→EE1)
..

In FE the missing  restoring b1 is almost certainly an oversight, which is proven by the compliant and flawless text of all sources in analogous b. 231 – f1 and not f1. The mistake was repeated in EE1, yet noticed and corrected in EE2 (→EE3).

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Errors repeated in EE

b. 172

composition: Op. 44, Polonaise in F♯ minor

..

In the main text, we add cautionary naturals before minims e1 in bar 172 and b in bar 176.

category imprint: Editorial revisions

b. 177

composition: Op. 44, Polonaise in F♯ minor

..

In the main text we add a cautionary  to d2.
In EE cautionary accidentals –  and  – were added to the f1-a1 third.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 183

composition: Op. 44, Polonaise in F♯ minor

..

In the main text we add cautionary naturals to the d2-b2 sixth. A natural to b2 was also added in GE2.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 200-206

composition: Op. 44, Polonaise in F♯ minor

..

The prototype of these bars – to the 1st beat of b. 206 – is the first phrase of AImaz, a draft autograph constituting an additional source of the Polonaise. In this autograph, the fragment is written down half a tone lower, in E major with modulation to B major, not having been transferred to a higher octave in b. 202. In the notes discussing the text of AImaz, we give the pitch after transposition to the key of the respective bars of the Polonaise (half a tone higher).
Further on, AImaz corresponds to b. 220-243 of the final version. 

category imprint: Corrections & alterations; Source & stylistic information