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WN 17, Polonaise in B♭ major

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b. 86-87

composition: WN 17, Polonaise in B♭ major

No slurs in JC & EF

Slurs in PE
..

In the main text we give the undoubtedly authentic slurring of PE.

category imprint: Differences between sources

b. 86-87

composition: WN 17, Polonaise in B♭ major

No slurs in JC & EF

Slurs in PE
..

We give the slurring of PE.

category imprint: Differences between sources

b. 86

composition: WN 17, Polonaise in B♭ major

Rhythmic notation in JC & EF

PE
..

In the main text we give the notation of PE, as from the formal point of view it is error-free and may correspond to the notation of [A]. The notation of JC and EF, however, seems to be more logical:

  • from the practical point of view – the e note cannot be held with fingers as a crotchet, as it was written in PE, due to the fact that it is struck again on the 2nd quaver;
  • due to the voice-lead – in the notation of PE, the progression of the lower voice of the R.H., absolutely regular from the beginning of that phrase in bar 82, is clearly disrupted on the 1st quaver in bar 86.

category imprint: Differences between sources

b. 86

composition: WN 17, Polonaise in B♭ major

No indication in JC & EF

in PE
..

The indication sempre legato, visible in PE, is most probably authentic; juxtaposing such a kind of indications with slurs is characteristic of Chopin's notation.

category imprint: Differences between sources

b. 86-87

composition: WN 17, Polonaise in B♭ major

No signs in JC

 in EF

  in PE
..

In the main text we consider the dynamic hairpins of PE. Their simultaneous use with verbal indications, which apparently bear the same meaning, is characteristic for Chopin. The   signs generally refer to the changes of melodic line, whereas verbal indications – to the entire sound; therefore, they can differ in their range and even in the direction of the indicated change. Cf. the note concerning bar 64.

category imprint: Differences between sources