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Issues : Errors in PE

b. 9

composition: WN 17, Polonaise in B♭ major

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In JC, FEF, and PE, the 5th quaver f is not extended to the value of a crotchet. It is certainly a mistake (the notation's inaccuracy), as the necessity to extend stems from the presence of the tie sustaining this note to the minim f in bar 10. Moreover, in JC, the last quaver, f1, is written erroneously in a two-part form. FEF has a correct notation.

category imprint: Source & stylistic information

issues: Errors of JC , Errors in PE , Errors in Fontana's editions , Fontana's revisions

b. 9

composition: WN 29, Waltz in E minor

No marks in PE

Staccato dots in GE
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The missing staccato dots in PE must be an oversight, probably by the engraver – the marks are in all 5 repetitions of this bar. The dots were added in GE, which we include in the main text.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Errors in PE

b. 12

composition: WN 17, Polonaise in B♭ major

Chord in JC

Sixth in EF

Another chord in PE

Our suggestion
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The sound of the 2nd quaver intended by Chopin gives rise to doubts. JC has here a b-e1-g1 triad, while EF  – a b-g1 sixth. Each of those versions smoothly combines both with the spread chord d-b-f1 in the previous bar and the next three quavers creating a B major chord. Those versions, and particularly the sixth confirmed in analogous bar 39, may be considered as a fully-fledged alternative for the reconstruction of the version of [A] described below.

PE has here an e-g-e1 chord, most probably including the erroneous in this context e note. Taking into consideration various possibilities of the lithographer's errors, as well as the harmonic content and the accompaniment's voice-leading, we consider the g-b-e1 chord as the most justified reconstruction of the version of [A] and we propose it in such form in the main text.

category imprint: Interpretations within context; Differences between sources

issues: Terzverschreibung error , Errors in PE

b. 12

composition: WN 17, Polonaise in B♭ major

No pedalling in JC

Pedalling in EF

Pedalling in PE
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Generally, Chopin's pedalling aims at holding the bass note as a background for the later performed harmonic filling. Therefore, the omission of exactly the bass note in the pedalling of PE indicates an inaccurate recreation of the notation of [A]. In the main text we adopt the pedalling of EF, compatible with the principles followed by Chopin in this respect.

category imprint: Interpretations within context; Differences between sources

issues: Errors in PE

b. 12

composition: WN 29, Waltz in E minor

Rest in sources

b2 suggested by the editors
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It cannot be ruled out that the source version with a rest on the 3rd beat of the bar is authentic – small differences between the first appearance of a certain detail and its repetitions – cf. bar 20, 44, 52 and 116 – are not uncommon in Chopin's style, cf., e.g. the Scherzo in B minor, Op. 31, bar 273, 284, 375 and 396 – it is only in the first one that the chord includes a d seventh; the remaining ones contain e. However, the individual presentations of this phrase of the Scherzo differ also in other details, whereas in the Waltz it is practically the only difference between the five occurrences of this eight-bar section. Due to the above, we believe that it was rather a mistake in the interpretation of [A]. 

category imprint: Editorial revisions

issues: Errors in PE