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Op. 44, Polonaise in F♯ minor

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b. 230

composition: Op. 44, Polonaise in F♯ minor

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The semiquaver beam to c2 was overlooked in EE.

category imprint: Interpretations within context; Differences between sources

issues: Errors in EE

b. 234

composition: Op. 44, Polonaise in F♯ minor

Quavers in GE

Dotted rhythm in FE (→EE)
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Chopin added here dotted rhythm while proofreading FE1. The quavers in GE may be the initial version of this and previous, analogous bars (b. 171, 175 and 228), overlooked by Chopin at the time of performing corrections. Two quavers occurring in this passage in AImaz corroborate this hypothesis. 

category imprint: Differences between sources

issues: Authentic corrections of FE , Dotted or even rhythm

b. 241-242

composition: Op. 44, Polonaise in F♯ minor

b tied in GE

b repeated in FE (→EE)

Our variant suggestion
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According to us, both source versions can be authentic, although mistakes cannot be ruled out:

  • in FE the tie to b could have been overlooked, like the slur in this bar;
  • in GE one can assume an unfinished correction – the tie was printed by mistake instead of the tie from the previous bar, and one forgot to remove it after the correct one had been added (examples of such unfinished corrections – see, e.g. the Concerto in F minor, Op. 21, III mov., b. 282 or the Ballade in F, Op. 38, b. 179).

Due to the above reason, in the main text we suggest a variant solution.

category imprint: Differences between sources; Editorial revisions

b. 241

composition: Op. 44, Polonaise in F♯ minor

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In EE1 the dots extending the b1-g2 crotchet were overlooked. The mistake was rectified in EE2 (→EE3).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE

b. 241-242

composition: Op. 44, Polonaise in F♯ minor

B tied in GE

B repeated in FE (→EE)
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As was the case with the slur and tie in this bar (see the adjacent notes), GE contain a tie that is absent in FE (→EE). However, in this case the choice of the main text was influenced by stylistic and pianistic reasons – a tied B significantly complicates the performance with a minimal difference to the sound. Moreover, one could assume that playing both elements of the octave is an improvement, since it underlines the culminant nature of this bar. In this situation, the absence of the tie probably resulted from the change of concept by Chopin, who removed it in the basis for FE or while proofreading it.

category imprint: Differences between sources