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Issues : Errors in EE
b. 17-18
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composition: Op. 44, Polonaise in F♯ minor
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In FE (→EE) the L.H. part octaves (from the 2nd beat of b. 17 to the end of the 1st beat of b. 18) are written in a simplified way with the use of con 8va. In the process, in FE both ties to F category imprint: Differences between sources issues: EE revisions , Errors in EE , Abbreviated octaves' notation |
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b. 18-30
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composition: Op. 44, Polonaise in F♯ minor
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All trills in b. 18, 20 and 30 are written in GE without the wavy lines indicating that an entire rhythmic value of the trilled note should be filled with the trill. In the main text we follow the more suggestive version of notation of FE (→EE), whereby in EE the wavy line in b. 18 was overlooked. category imprint: Differences between sources issues: Errors in EE |
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b. 25
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composition: Op. 44, Polonaise in F♯ minor
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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 |
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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. 30
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composition: Op. 44, Polonaise in F♯ minor
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The version of GE could have resulted from a double interpretation of the mark resembling a vertical curved line (with which Chopin most probably marked the arpeggio in [A]). Engravers would often work in stages, i.e. an entire page of noteheads, then beams, slurs, ornaments, etc., hence it is likely that the slur was engraved at the stage of slurs, while the arpeggio at the stage of ornaments. category imprint: Differences between sources issues: Inaccuracies in GE , Errors in EE , Arpeggio – vertical slur |