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Ornaments

b. 56-60

composition: Op. 44, Polonaise in F♯ minor

 &   in GE

 &  in FE (→EE)

 &  suggested by the editors

..

In GE the trills in b. 56 and 60 are written without a wavy line after . In the main text we follow the more suggestive notation of FE (→EE) in b. 56. The missing wavy line in b. 60 is almost certainly a mistake by the engraver of FE, since in b. 293, which is a non-written-out repetition of b. 60 in the manuscripts, the wavy line was actually printed.

category imprint: Differences between sources; Editorial revisions

b. 57

composition: Op. 44, Polonaise in F♯ minor

Slur in GE, literal reading

Arpeggio sign in GE (contextual interpretation) & FE

No mark in EE

..

As was the case with analogous b. 31, the slur of GE, although formally correct, is most probably inaccurate and marks a grace note and an arpeggio (written down as a vertical slur), as was conveyed in FE. The absence of a slur (arpeggio) in EE, whatever the reason, cannot be authentic.

category imprint: Differences between sources

issues: Inaccuracies in GE , Errors in EE , Arpeggio – vertical slur

b. 59

composition: Op. 44, Polonaise in F♯ minor

No mark in FE (→EE) & GE

Arpeggio sign suggested by editors

..

In the main text we add an arpeggio mark after a comparison with analogous b. 33 as well as with b. 109. In the case of chords with such a span, Chopin most probably meant the marks placed in those bars before the first chord to apply to all the following ones in this and analogous bars.

category imprint: Editorial revisions

b. 60

composition: Op. 44, Polonaise in F♯ minor

..

In the sources there is no  over , which is a patent inaccuracy, most probably repeated after [A].

category imprint: Interpretations within context

issues: Omission of current key accidentals

b. 69

composition: Op. 44, Polonaise in F♯ minor

in GE

No mark in FE (→EE)

..

In the main text we include the arpeggio mark from GE, like in analogous b. 43.

category imprint: Differences between sources