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Issues : Errors in FE

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b. 8

composition: Op. 44, Polonaise in F♯ minor

In FE1 the last two R.H. dyads are c³-a³ sixths. This patent mistake was corrected in FE2 and EE.

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category imprint: Differences between sources

issues: EE revisions , Errors in FE , Terzverschreibung error , FE revisions

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b. 10

composition: Op. 44, Polonaise in F♯ minor

over g¹ in GE, EE & FES

under e¹ in FE

The mark having been placed in FE almost certainly resulted from the routine approach of the engraver of FE, who moved the mark from above the beam to the side of noteheads – such a placement of marks is generally preferred with only one melodic line on the stave (the first trill in this bar is placed in the same manner, which, however, does not influence its meaning). In the discussed place, this version of notation, suggesting that refers to e¹, must be contrary to Chopin's intention, which is evidenced by the musical sense, confirmed by the version of notation of GE, based on [A]. In FES the mark was crossed out and written over g¹; the right text is also in EE.

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category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Placement of markings , Annotations in FES

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b. 13-15

composition: Op. 44, Polonaise in F♯ minor

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: . The fact that Chopin meant to prolong both notes of the octaves is evidenced by the dots prolonging both notes in GE in b. 15 as well as by the dots in all sources in a similar situation in b. 36-40.
In GE the stems were assigned correctly, except bar 15. The sources also differ in the presence of dots prolonging the e²-e³ octave at the beginning of the 3rd beat of b.15–inFE1both are absent, in FE2 and EE1 there is only the top one, while GE and EE2 contain both.

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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

composition: Op. 44, Polonaise in F♯ minor

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: d²-e³, e²-f³, e²-e³ and d²-d³. The patent mistake was corrected in FE2 and EE.