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Issues : FE revisions
b. 8
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composition: Op. 44, Polonaise in F♯ minor
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In FE1 the last two R.H. dyads are c category imprint: Differences between sources issues: EE revisions , Errors in FE , Terzverschreibung error , FE revisions |
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b. 13-15
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composition: Op. 44, Polonaise in F♯ minor
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In FE (→EE) the crotchet stems reach only the top notes of the R.H. octaves on the 2nd beat of b. 13 and 14; similarly, in b. 15 it is only the top notes of the octaves that are separated as the top voice on the 3rd beat (in turn, both notes of each of those octaves belong to the bottom voice). It must have resulted from a misunderstanding: Chopin's notation was misunderstood by the copyist or, which is more likely, by the engraver of FE. Chopin would always write stems on the right-hand side of noteheads, which would result in an ambiguous notation in such a situation, e.g. in b. 15: category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Errors in GE , FE revisions |
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b. 15
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composition: Op. 44, Polonaise in F♯ minor
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In FE1 the top notes of the 7th and 8th R.H. semiquavers were printed a second higher (by mistake). Consequently, the 4 last octaves in this bar sound as follows when interpreted literally: d category imprint: Differences between sources issues: EE revisions , Errors in FE , FE revisions |
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b. 29
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composition: Op. 44, Polonaise in F♯ minor
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The reason for the differences in the notation of the ornament preceding the d category imprint: Differences between sources issues: Inaccuracies in GE , Errors in EE , FE revisions , Arpeggio – vertical slur |
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b. 29
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composition: Op. 44, Polonaise in F♯ minor
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We give the rhythm of the 1st crotchet in the bar after the rhythmically correct version of GE, conveying almost certainly the text of [A]. FE1 contains an erroneous rhythm missing one demisemiquaver – category imprint: Differences between sources issues: Errors in FE , FE revisions |