Issues : Inaccuracies in JC
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b. 52-61
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composition: WN 17, Polonaise in B♭ major
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The meaning and number of slurs (ties?) starting from the d and d1 crotchets on the 2nd beat of bars 52-53 and 60-61 are ambiguous. Each of two slur-like lines visible in JC may be generally interpreted both as ties and slurs, as we cannot be certain that the copyist read the notation of [AI] properly. Consistent ties in bars 52-53 in EF may be a result of Fontana's interpretation and revision, which is indicated by lack of a similar consistency in bars 60-61. However, assuming that the notation in bars 52-53 is correct, we propose to add the missing ties in bars 60-61. As far as the slur-like lines in the base source (PE) are concerned, if we interpreted them as ties, we would receive different piano grips in analogous figures (bars 52 and 60); according to us, it is an argument for reading them as slurs. category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Inaccuracies in PE , Errors in Fontana's editions , Inaccuracies in JC , Fontana's revisions |
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b. 52-60
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composition: WN 17, Polonaise in B♭ major
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In the earlier sources, some of the chords in the L.H. on the 3rd beat of bars 52 and 60 are provided with an arpeggio sign: JC has a wavy line in bar 52, while EF – in both. It is hard to determine what was Chopin's intention in this regard. Lack of wavy lines may be explained by an oversight, their presence – by a mistake resulting from a similarity with bars 53 and 61, and in the case of EF also from a generalising revision. It is also possible that Chopin changed his mind: at the time of writing [AI], he predicted arpeggios each time, while in [A] – already not. In the main text we give the version of PE without arpeggios. category imprint: Differences between sources issues: Inaccuracies in JC |
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b. 53-61
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composition: WN 17, Polonaise in B♭ major
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In JC, lack of arpeggio in the R.H. in bar 61 is probably a result of an oversight. All wavy lines in JC are put on the right-hand side of the chords. category imprint: Differences between sources issues: Inaccuracies in JC |
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b. 56
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composition: WN 17, Polonaise in B♭ major
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In JC, the category imprint: Source & stylistic information issues: Inaccuracies in JC |
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b. 57-61
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composition: WN 37, Lento con gran espressione
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There is no doubt that the slurs in A1, CJ, CK and EL are supposed to encompass the irregular group of small notes, filling the 2nd half of each of these bars. However, it was not written accurately enough in the manuscripts, as a result of which it is only some of the slurs that actually span from the first to the last note (b. 59 in A1 and 57 in CJ and CK). The remaining ones are shorter, sometimes only one note shorter, but in the extreme case – b. 58 in CJ – the slur encompasses only 12 out of 35 semiquavers. We reproduce these inaccuracies only in the graphic transcriptions of the particular sources. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , Inaccuracies in JC , Inaccuracies in CK |
before the chord on the 4th quaver is on the level of d1.