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Op. 44, Polonaise in F♯ minor

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b. 220-243

composition: Op. 44, Polonaise in F♯ minor

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These bars – from the 2nd quaver in b. 220 – have their prototype in the second part of AImaz. In this autograph they were written down – as was the case with the first phrase corresponding to b. 200-206 – half a tone lower (from B major in b. 220-226 to E major in b. 236-243) and with numerous differences with respect to the final version of the Polonaise. We discuss them in separate notes, providing the pitch after transposition half a tone higher, to the key visible in the main text and sources of the entire Polonaise.

category imprint: Corrections & alterations; Source & stylistic information

b. 261-265

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

b. 276-277

composition: Op. 44, Polonaise in F♯ minor

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As in previous analogous places, in FE (→EE) the L.H. part octaves from the 2nd beat of b. 268 to the end of the 1st beat of b. 269 are written down in a simplified manner with the use of con 8va.

category imprint: Differences between sources

issues: Abbreviated notation of A

b. 302-303

composition: Op. 44, Polonaise in F♯ minor

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As in previous analogous places, in FE (→EE) the L.H. part octaves are written down in a simplified manner with the use of con 8va from the 2nd beat of b. 302 to the end of the 1st beat of b. 303.

category imprint: Differences between sources

issues: Abbreviated notation of A