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Op. 44, Polonaise in F♯ minor

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b. 23-24

composition: Op. 44, Polonaise in F♯ minor

Single d2 in GE

2 d & 2 d2 in FE (→EE)
..

In the main text we include the middle notes (d and d2) added to the A-a and a1-a2 octaves; Chopin added them while proofreading FE (→EE).

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE

b. 24-25

composition: Op. 44, Polonaise in F♯ minor

2 accents & staccato dot in GE1

2 accents & slur in FE (→EE)

Accent & dot in GE2

Our variant suggestion
..

In the main text we rely on the indications of FE (→EE) introduced into [FC] (the Stichvorlage) or in the proofreading stage of FE1, and certainly later than the markings of GE. Anyway, both sets differ very little and can be considered complementary, which we include as a variant possibility.
The omission of the 2nd accent in b. 24 is an oversight by the engraver of GE2.

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE , GE revisions , Authentic corrections of FE

b. 24-26

composition: Op. 44, Polonaise in F♯ minor

..

GE2 changed the layout of the text, placing the entire R.H. part on the top stave (in bass clef). This change is contrary to Chopin's habit, who would write the R.H. part in such a manner only in exceptional situations (e.g. in the Prelude in E major, Op. 28 No. 9). Similar changes were introduced in all analogous passages (bars 50-52, 76-78, 283-285, and 309-311), as well as in bars 79-83. We do not reproduce this inauthentic layout in our transcripts for these changes do not influence the meaning of the text.

category imprint: Source & stylistic information

issues: GE revisions

b. 24-26

composition: Op. 44, Polonaise in F♯ minor

No marks in GE1 & FE (→EE)

Accents & dots in GE2
..

GE2 arbitrarily repeated in the L.H. part the accents and dots placed below or above the R.H. part. However, the last accent in bar 24 was omitted (also overlooked in the R.H.) as well as the staccato dot under Fis1 on the 3rd beat of bar 26. The addition was related to the entire R.H. part having been placed on the upper staff. The authentic layout in this kind of homogenous texture clearly suggest applying marks put over the R.H. to all underlying notes.

category imprint: Differences between sources

issues: GE revisions

b. 25

composition: Op. 44, Polonaise in F♯ minor

..

In EE1 the quaver beaming of the last two L.H. octaves was overlooked. The patent oversight was corrected in EE2 (→EE3).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE