Rhythm
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b. 62-64
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we include the dots prolonging the octaves at the beginning of these bars, added in the stage of proofreading of FE2 and EE1. Admittedly, they were not proofread by Chopin, yet his participation in the development of this impression cannot be ruled out completely, while a comparison with the undoubtedly authentic dots in similar b. 37-40 and 65-66 makes us consider that addition to be right. See also the neighbouring note. category imprint: Differences between sources issues: FE revisions |
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b. 69
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composition: Op. 44, Polonaise in F♯ minor
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As was the case with b. 43, GE2 arbitrarily separated the topmost note of the 1st chord, making a crotchet out of it. category imprint: Differences between sources issues: GE revisions |
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b. 69
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composition: Op. 44, Polonaise in F♯ minor
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The version of the editions may have resulted from a wrong interpretation of Chopin's notation, which may be unclear in similar situations, e.g. there are notes in a chord that do not have any contact with the stem. Due to that reason, in the main text we suggest the notation of analogous b. 43, which seems to be more logical – cf. b. 17. The same applies to b. 302. category imprint: Editorial revisions |
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b. 197
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composition: Op. 44, Polonaise in F♯ minor
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The second sixth in EE is a semiquaver, which is a patent mistake, although there is no visible reason for such an error – the most likely explanation seems to be that the semiquaver beam was added a great stave too high, i.e. instead of b. 203. category imprint: Interpretations within context; Differences between sources issues: Errors in EE |
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b. 199-200
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composition: Op. 44, Polonaise in F♯ minor
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The tie to b was reproduced correctly only in EE2 (→EE3). The inaccuracies of the remaining editions resulted from the Chopinesque manner of writing down ties as short, quite thick curved lines, not running from a note to the other one, but placed next to the attached note (cf., e.g. the first page of the autograph of the Mazurka in G major, Op. 50 No. 1, particularly the e-e1 octaves in b. 18-20 and 22-24). In the discussed bars of the Polonaise, the parts of both hands (4 voices!) are written down on the bottom stave, which could have been an additional obstacle to the correct interpretation and reproduction of that tie. There is a similar situation two bars later. The slur of FE (→EE) over b. 198-200, which ends in the same place, is discussed separately. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in GE |
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