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WN 17, Polonaise in B♭ major

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b. 17-18

composition: WN 17, Polonaise in B♭ major

Rhythmic notation in JC, interpretation

EF

PE
..

The notation of JC reflects the erroneous draft notation of [AI]. Formally, the notation of EF is correct, but lack of hold of the second f may be considered as an oversight in relation to the remaining sources (or perhaps as a revision – cf. bars 44-45). In the main text we give the more precise notation of [A] (→PE).

category imprint: Interpretations within context; Differences between sources

issues: Errors in Fontana's editions

b. 17

composition: WN 17, Polonaise in B♭ major

One dot in JC

Four dots in EF & PE
..

In JC, only the highest note of the chord, d2, is prolonged with a dot. Chopin would often use such a notation, therefore, it cannot be excluded that it corresponds to the notation of [AI] and does not have to be a mistake. In the main text we give the unequivocal compatible version of EF and PE. 

category imprint: Differences between sources

issues: Inaccuracies in JC

b. 18

composition: WN 17, Polonaise in B♭ major

One voice in JC & EF

Two voices in PE
..

In the main text we give the more precise notation of PE.

category imprint: Differences between sources

b. 18

composition: WN 17, Polonaise in B♭ major

One slur in JC & EF

Two slurs in PE
..

We consider the additional slur over first three semiquavers visible in PE, albeit its meaning is unclear.

category imprint: Differences between sources

b. 18

composition: WN 17, Polonaise in B♭ major

No sign in JC & PE

 in EF

Our variant suggestion
..

The  hairpins are featured only in EF. As in analogous bar 10 a respective sign is present also in PE, in the main text we propose a variant solution.

category imprint: Interpretations within context; Differences between sources