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Issues : Errors in PE

b. 33-34

composition: WN 17, Polonaise in B♭ major

 

 in PE

Our variant suggestion
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Both  signs (in bars 34 and 35) come from PE, in the remaining sources there are no verbal dynamic indications in those bars. The presence of two  signs over a short fragment raises doubts as to a possible misunderstanding in reading [A]. Due to this fact, in the main text we give the sign in bar 34 in brackets. Cf. also the note related to bar 35. 

category imprint: Differences between sources

issues: Errors in PE

b. 36

composition: WN 17, Polonaise in B♭ major

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The sources differ here in the notation of the rest for the part of the R.H.; JC has a crotchet rest, which certainly corresponds to the notation of [AI]. In PE, the crotchet rest is additionally extended with a dot, which is a patent error, however, it reveals that also in the case of [A], Chopin insisted on his simplified way of notation. Two quaver rests in EF are probably a result of Fontana's revision. 

category imprint: Interpretations within context; Differences between sources

issues: Errors in PE

b. 36

composition: WN 29, Waltz in E minor

Digit 4 in sources

No that digit in the main text
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The authenticity of the fingering digit over the 1st quaver is questionable when we compare it with the undoubtedly Chopinesque fingering of the passages of a similar structure, containing a similar combination of white and black keys – cf. the Etude in A minor, Op. 25 No. 11, bar 82 or the Concerto in F minor, Op. 21, III mov., bar 97 and 101-102, not to mention the Etude in A minor, Op. 10 No. 2, the main technical goal of which is developing efficiency of fingers in such combinations. In the main text we omit this digit, which does not exclude the use of the 4th finger, but at the same time it leaves the door open for another possibility, which many pianists – including, apparently, probably Chopin – would consider more convenient.

category imprint: Editorial revisions

issues: Errors in PE

b. 36

composition: WN 29, Waltz in E minor

No mark in PE1 (→PE2→PE3)

Staccato dot in GE & PE4
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The missing staccato dot under the bass note in the first impressions of PE must be an oversight (in this and the next bar). Relevant marks are present in analogous figures both before (bars 33-35) and after (bar 38). In the main text we add a dot in both places, as it was performed in GE and PE4.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Errors in PE ,

b. 37

composition: WN 29, Waltz in E minor

No mark in PE1 (→PE2→PE3)

Staccato dot in GE & PE4
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As in the previous bar, the missing staccato dot in the first impressions of PE must be an oversight. In the main text we add it, as it was performed in GE and PE4.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Errors in PE ,