mUltimate Chopin

Op. 44, Polonaise in F♯ minor

Text Compare Notes Sources Description

Issues : Placement of markings

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.

category imprint: Differences between sources

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

b. 87-97

composition: Op. 44, Polonaise in F♯ minor

Accents on lower staff in GE

Accents above upper staff in FE (→EE)
..

It is unclear what caused the difference in the placement of the accents between GE and FE (→EE). One could assume that each version might be non-compliant with Chopin's notation:

  • the engraver of GE, upon seeing the accents above the stems of the R.H. octaves, could have moved them to the side of the noteheads, which was quite a frequent, routine procedure (in GE the majority of those accents are placed closer to the R.H. octave);
  • the copyist or engraver of FE, upon seeing the marks on the stave (between the octaves of both hands), could have moved them up to make them more legible.

At the same time, it means that each version of notation may be authentic; if FE were based on a second autograph, then even both. In the main text we give the notation of our principal source, i.e. FE, which is also supported by:

  • the accents of GE in the repetition of this section with an expanded ambitus, placed clearly above the R.H. octaves (in GE accents are only in b. 119-121 there, which, however, does not undermine this argument).
  • the appearance of accents (in b. 87) along with the a-a1 octaves, constituting the top pedal note in this entire section, generally accented by Chopin, cf., e.g. d2 in the Andante spianato, Op. 22, b. 55-62 or c2 in the Polonaise in A major, Op. 53, b. 143-151.

In the main text we place the accents above the top stave, as it was performed in FE.

category imprint: Differences between sources

issues: Placement of markings

b. 98-100

composition: Op. 44, Polonaise in F♯ minor

Accents on lower staff in GE

Accents above upper staff in FE (→EE)
..

In accordance with the explanation in the note in b. 87, to the main text we adopt the notation of FE (→EE) with accents over the a-a1 octaves.

category imprint: Differences between sources

issues: Placement of markings

b. 119-121

composition: Op. 44, Polonaise in F♯ minor

Short accents in GE

Different accents in FE

Short accents in EE
..

In the main text we suggest accents as written down in EE. This solution combines the most certain elements of the versions of GE1 and FE:

  • short accents after GE, since in FE each mark is of a different length – short, short/long, long, respectively – which cannot correspond to Chopin's intention;
  • accents under the R.H. octaves as in FE, for reasons of consistency – in GE the remaining bars in this section (b. 111-124) do not contain any accents at all. The position of the accents in GE could have resulted from a routine revision of the engraver – in one-part notation, the marks are generally placed on the side of noteheads.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , Placement of markings