Polonaises for Piano

Előszó

THE CHARACTER OF THE PRESENT EDITION
The principal aim of the Editorial Committee has been to establish a text ujhich fully reveals Chopin's thought and corresponds to his intenlions as closely as possible. For this reason the present edition has been based primarily 011 Chopin's autograph inanu-scripts, copies approved bjj him, and first editions. The Committee has had to take into account the fact thot even though a manuscript may have served as a basis for a first edition, it is not alujays the final version of any particular piece. Chopin frequently changed details of his compositions up to the very last moment. So much is clear not only from contemporary sources, but alsó from variants betujeen originál editions and manuscripts. Such variants, moreover, cannot possibly be considered to be engraver's errors or editorial alterations. The manuscripts ujill alujays be the prime source for the textual verification of Chopin's ujorks. But although no effort has been spared, it has not alujays been possible to discover or study a given manuscript. The Editorial Committee has alsó consulted recent editions for purposes of comparison.
When it has proved impossible to establish the authentic version or the one corresponding to Chopin's last intentions, any discrepancy has been carefully indicated in the Commentary.
Dynamic and agogic signs correspond to the manuscripts and first editions. Sometimes they have been supplemented by the repetition of signs appearing in identical or similar places. Other additions have been placed in brackets. Chopin's originál fingering, rare though it is in the manuscripts and first editions, has been expressly indicated in the Commentary.
The pedál marks given by the Editorial Committee are strictly in accordance u)ith the manuscripts and originál editions. Certain insignificant modifications have been introduced, but only ujhere this is required by the greater resonance of modern pianos, as mell as in analogous passages or repetitions, ujhere comparison has revealed inconsistency, or ujhere correction or completion is required oujing to mistakes or negligence. Chopin's pedal-marking is usually careful, precise, and in certain places very delicate, sometimes producing entirely nem pianistic effects (e.g. at the beginning of the Polonaise-Fantasia). Those passages in ujhich Chopin has not marked the pedalling are generally explained by the fact that the pedalling required is very simple, and is therefore self-evident; or, on the contrary, that it is so subtle as to be too complicated, if not impossible, to indicate. In any case, the use of the pedál is a very delicate and entirely individual matter, depending on many factors, such as instrument, touch, tempó or acoustics of the room. For this reason, the Editorial Committee has
decided to leave the pedalling as found in the originál documents. This conforms with the principles adopted in the present edition.
In principle, Chopin's phrasing has beeri retained. But certain slurs have been modified in the interests of simplicity, exactitude or clarity. In Chopin's manuscripts slurs are sometimes placed carelessly, and do not alujays correspond in originál editions.
The editors have introduced somé slip.ht modifications of the originál in the arrangement and outujard appearance of the musical text. Harinonic notation and accideutal signs have been altered or added ujhere necessary, and certain changes in the distribution of notes have been effected so as to ensure the clearest visual presentation of the music, of the coinposer's intentions, and to safeguard the performer from hesitations, uncertainties or misunderstandings. In these cases, the editors have endeavoured to keep to the notation of the manuscripts and first editions as closely as possible, and have tried to avoid the exaggerations ujhich sometimes characterize previous editions of Chopin's ujorks.
For this reason alsó, uje have very often left certain inconsistencies occurring in the notation of similar passages undisturbed. Such variants often appear in Chopin's ujorks, not only in the notation but alsó in the contents of the inusic. Any important modification of Chopin's notation, houiever, has been clearly indicated in the Commentary.
In ornamentation, Chopin's originál notation has been retained; attention has been draum to any ornament appearing in different forms in the manuscripts and originál editions. Wherever the execution of an ornament may give rise to doubt, the most appro-priate manner has been carefully shoiun.
The chief difficulty lies in the method of beginning a trill. The folloujing principles should be observed:
I) Where the principal note of a trill is preceded by fc—
an upper appoggiatura: JJ , or by a sequence of grace notes: /f^'l" Jj jf~ J^ J~ , the trill begins on the upper note: _ ; ' t '
Ili the latter case ( fö J— ), the repetition of the principal note at the beginning should be avoided.
The follouiing: does not exist in
Chopin. To obviate this mistake certain editors have added an upper appoggiatura to the notation of
these trills: /j . Vissza