mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors of JC

b. 13

composition: WN 17, Polonaise in B♭ major

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In JC, the last third in the bar does not have a quaver flag, which is a patent error. The same applies to bar 40, marked in this manuscript as the repetition of bar 13.

category imprint: Interpretations within context; Differences between sources

issues: Errors of JC

b. 13

composition: WN 37, Lento con gran espressione

4 notes in A1, CK (→CB) & EL

3 notes in CJ
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The arguments for adopting the version of CJ as the principal one are as follows:

  • the very "Chopinesque" differentiation between three analogous b. 5, 13 and 46 – the ending of the trill consists in them of 2, 3 and 4 notes, respectively (cf. the reverse change, i.e. addition of a note in the ending of the run in b. 52);
  • a possibility of Kolberg's revision in CK – the g2 note could have been added later, which is indicated by the spaces between the notes (cf. the notation of b. 46 in this manuscript).

The version of the remaining sources can be considered an equal variant, particularly since it cannot be ruled out that in spite of the awkward layout, it was Kolberg that faithfully copied [A2] and Ludwika that committed a mistake.
In CB the grace notes are written as small semiquavers.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes , Errors of JC , Kolberg's revisions , Balakirev's revisions

b. 14

composition: WN 17, Polonaise in B♭ major

Sixth in JC & EF

f in PE
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In relation to the version of [AI] (→JC) and EF, in [A] (→PE) Chopin slightly reduced the texture of the accompaniment in this and the previous bar. He also underlined its syncopated character with the use of accents (cf. also the remark concerning the R.H.). In bar 14 the change concerns only the graphic and pianistic issues, for if we consider the authentic pedalling, the sound effect of both versions is the same, as far as the harmony is concerned.

category imprint: Differences between sources

issues: Errors of JC

b. 15

composition: WN 17, Polonaise in B♭ major

No slurs in JC

Slurs in FEF

Ties in GEF

Slurs in PE

Slur in PE, no 'triplet' slurs
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Lack of the slurs including each of the irregular semiquaver groups seems to be an error of JC. Generally, Chopin would provide such groups with a slur, most often together with a number determining the type of the group. Such slurs are most probably seen in FEF, while in GEF they have a form of ties sustaining the g1 crotchets. Also PE has here slurs which are a part of marking of irregular groups; however, due to the fact that Chopin additionally included the entire semiquaver figure under one slur, we omit the slurs in the main text (cf. General Editorial Principles, p. 16). 

category imprint: Interpretations within context; Differences between sources

issues: Triplet slurs , Errors of JC

b. 15

composition: WN 17, Polonaise in B♭ major

No lower voice in JC

Two voices in EF

Two voices in PE
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Lack of the lower voice in JC is certainly the copyist's oversight. The way of subscribing the last notes in PE suggests a simultaneous strike of the e1-c2 sixth, which could correspond to Chopin's intention, as such an edition would faithfully render the notation of [A]. For such a rhythm of the lower voice could have been easily written as , we consider the notation of PE as inaccurate and we subscribe the notes according to their rhythmic values.

category imprint: Differences between sources

issues: Errors of JC , Inaccuracies in PE