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p. 2, b. 17-34
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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GE2 - Second German edition
FE - French edition
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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. 20

Grace notes A-B and A-B in GE1 & EE2

Grace notes A-B and A-B in FE & GE2

Grace notes A-B and A-B in EE1

Out of the three source versions of the double grace notes present both before the 3rd trill and after it, it is only one that is correct – A-B before and A-B after. It results from a comparison of this bar with four repetitions thereof in b. 46, 72, 279 and 305:

  • this is the only version appearing – in b. 46 – in both editions based directly on the manuscripts, hence GE1 and FE1;
  • in GE1 this version is in all those places;
  • no musical reasons support the introduction of different versions of such details in the course of the Polonaise;
  • the different versions of FE can be explained by mistakes of the copyist or of the engraver.

In the discussed bar the missing  in GE2 is an oversight of the engraver, while the  instead of a  in EE1 – most probably a mistake, rectified in EE2.

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category imprint: Differences between sources

issues: EE revisions, Errors in FE, Errors in GE, GE revisions, Errors repeated in EE

notation: Pitch

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