Articulation, Accents, Hairpins
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b. 127-130
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we give 10 staccato dots after EE2. Such an articulation is an obvious addition to the articulation of our principal source, i.e. FE, in which the staccato dot over the 2nd crotchet in b. 129 was overlooked. As far as GE are concerned, it seems that both the absence of dots in b. 127-128 and the dot at the beginning of b. 129 resulted from mistakes, i.e. an oversight and a routine addition, respectively. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE |
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b. 131-139
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composition: Op. 44, Polonaise in F♯ minor
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We give the staccato dots under the bass notes after GE1, in which they are absent only in b. 135-136. According to us, it makes it possible for us to consider (with as high probability as possible) that Chopin's intention was to mark all those notes with dots. The clearly defective version of FE (→EE) probably resulted from the accumulation of the oversights by the engraver of FE1 with the earlier ones, in the handwritten basis for that edition. The omission of the marks in b. 137-139 in GE2 seems to be a revision. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 147-150
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composition: Op. 44, Polonaise in F♯ minor
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In accordance with the explanation in the note to b. 127, in the main text we include the set of staccato dots of FE in b. 147-148 (the set was completed in EE2). Moreover, we suggest adding dots in b. 149-150 (in square brackets). category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE |
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b. 157
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composition: Op. 44, Polonaise in F♯ minor
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The presence of an accent in GE sets this bar apart from all those based on the dance, mazurka accompaniment, which could suggest a mistake. According to us, however, there are no reasons to doubt the authenticity of the mark, since it is also the only bar in which the 2nd and the 3rd crotchets are octaves, which justifies the accent on the former, which is supposed to emphasise the atypical sound. The absence of the mark in FE (→EE) could be explained by an oversight of the copyist or of the engraver (as it is in many other situations); it is also likely that it was added by Chopin to [A] after [FC] had already been finished. In turn, it seems highly unlikely that Chopin would intentionally omit the mark; therefore, we introduce it directly into the main text. category imprint: Differences between sources |
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b. 184
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we suggest supplementing the accent after analogous b. 139, 159, 198 and 218. category imprint: Editorial revisions |
