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Rhythm

b. 218

composition: Op. 44, Polonaise in F♯ minor

..

In addition to the much more serious change of pitch – see the preceding note – Chopin also changed here the rhythm of the 1st beat of the bar from  to 2 quavers.

category imprint: Differences between sources

issues: Authentic corrections of FE , Dotted or even rhythm

b. 220-242

composition: Op. 44, Polonaise in F♯ minor

..

The final version and AImaz differ in the use of dotted rhythms ( or  or similarly in twice as big rhythmic values). In two places the dotted rhythm was eventually replaced with even values – in b. 220 and 227. The opposite occurred five times – in b. 231, 234-235, 241 (the 2nd and 3rd beats) and 242 (the 1st beat).

category imprint: Corrections & alterations; Source & stylistic information

issues: Dotted or even rhythm

b. 225

composition: Op. 44, Polonaise in F♯ minor

Minim in FE (→EE)

Dotted minim in GE

..

The missing dot next to the b minim in FE (→EE) is probably an oversight by the copyist or the engraver (cf. b. 166). However, the dot is also absent in AImaz, which, in case of an alternative filiation, may indicate that [A2] did not include a dot.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 225-226

composition: Op. 44, Polonaise in F♯ minor

Quavers &  in GE & FE (→EE1)

 &  in EE2

..

The change of rhythm on the 1st beats of these bars, introduced by EE2 and totally arbitrary, was meant to make them resemble the version of analogous b. 166-167. The decision to revise the text could have been influenced by the erroneous semiquaver beam printed in EE1 next to the 2nd R.H. quaver in b. 225.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE

b. 228-230

composition: Op. 44, Polonaise in F♯ minor

..

In AImaz the harmonic filling in b. 228 – crotchet on the 2nd beat of the bar – is written down as a minim. In b. 229 on the 3rd beat of the bar there is a crotchet instead of a L.H. rest. In b. 230 the L.H. part rhythm is the same as in the final version in b. 171, while in the R.H. part a1 is repeated on the 3rd beat of the bar.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes