Issues : Inaccuracies in GE
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b. 140-141
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composition: Op. 44, Polonaise in F♯ minor
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The ending of the slur of GE1 in b. 140 (at the end of the line) suggests that it should be continued, although the last part of the slur is poorly visible. However, there is no ending of the slur in b. 141, and in GE2 the slur clearly ends on f category imprint: Differences between sources |
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b. 159-161
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composition: Op. 44, Polonaise in F♯ minor
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A comparison with analogous b. 140-141 indicates that it is the oversight that is the most likely reason for the absence of the tie to e in GE. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 208
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composition: Op. 44, Polonaise in F♯ minor
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There is no accidental to the bottom note of the 2nd grace note (d category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions , Errors repeated in EE |
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b. 240-241
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composition: Op. 44, Polonaise in F♯ minor
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As was the case with b. 181-182, the missing pedal markings in FE (→EE) suggest that Chopin added them to #A after [FC] had already been finished. The category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 241
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composition: Op. 44, Polonaise in F♯ minor
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The whole-bar slur of GE probably resulted from an erroneous interpretation of the inaccurate slur of [A]. Chopin would generally start slurs running from a note written in notes tied by one or a few ties either from the first or last of those notes, but never the middle one. In the absence of a slur in FE (→EE), in the main text we refer to an analogous situation in b. 182. In the version of GE in which b is tied twice, the suggested slur is tantamount to the one written down in the source. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE |
in b. 140. In the main text we reproduce the notation of 
to the bottom note, was moved to the beginning of b. 208. It could have been the inaccuracies concerning the accidentals of the grace notes that influenced the decision to correct the rhythm too.
in 
