mUltimate Chopin

Op. 44, Polonaise in F♯ minor

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Page: 
Source: 
p. 4, b. 49-64
p. 1, b. 1-16
p. 2, b. 17-34
p. 3, b. 35-48
p. 4, b. 49-64
p. 5, b. 65-82
p. 6, b. 83-97
p. 7, b. 98-112
p. 8, b. 113-126
p. 9, b. 127-157
p. 10, b. 158-185
p. 11, b. 186-214
p. 12, b. 215-243
p. 13, b. 244-267
p. 14, b. 268-281
p. 15, b. 282-295
p. 16, b. 296-309
p. 17, b. 310-326
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GE - German edition
GE1 - First German edition
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
EE3 - Revised impression of EE2
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GE - German edition
GE1 - First German edition
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
EE3 - Revised impression of EE2
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  b. 55

Arpeggio sign in GE, contextual interpretation

No mark in FE (→EE)

In GE the arpeggio mark is placed before the grace note, while in b. 288 (which in [A] is a not written-out repetition of the discussed bar) – before the d3-d4 octave. One of those versions of notation is therefore most probably inaccurate; we assume the more natural position of the mark in b. 288 to be correct. The missing arpeggio in FE seems to be an oversight of the engraver; however, it cannot be ruled out that Chopin entered it into [A] after Fontana had already finished [FC] (→FE). The least likely possibility is Chopin omitting the arpeggio on purpose (in any way). 

See b. 27

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources

issues:

notation: Ornaments

Missing markers on sources: GE1, GE2, FE1, FE2, EE1, EE2, EE3, FES
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