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WN 17, Polonaise in B♭ major

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b. 64-66

composition: WN 17, Polonaise in B♭ major

..

The indications cresc. in bar 64 and dimin. in bar 66 are only in PE. Similarly in bar 100 and 102.

category imprint: Differences between sources

b. 65

composition: WN 17, Polonaise in B♭ major

No signs in JC

 in EF

  in PE

 &  suggested by the editors
..

When read literally, the dynamic signs of PE in this bar create problems in interpretation. Combination of three signs in such a small space, out of which two, partially overlapping, indicate contrary dynamic changes, suggests inaccuracies or errors in reading [A]. According to us, the first sign is put inaccurately, while two subsequent ones – erroneously (mirror reflection of the sign). In the main text we propose the latter, interpreted as a long accent and  hairpins.

EF has longer  hairpins here, which in this situation may be considered as an alternative for the indications based on PE. 

category imprint: Interpretations within context; Differences between sources

issues: Sign reversal , Errors in PE

b. 65

composition: WN 17, Polonaise in B♭ major

No sign in JC & EF

 in PE, interpretation
..

The interpretation of the sign of PE, in spite that it was printed inaccurately, does not raise any major doubts (it is meant to emphasise the delaying dissonance e3), hence we include it in the main text.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in PE

b. 65

composition: WN 17, Polonaise in B♭ major

Crotchet b in JC & PE

b not prolonged in EF
..

The compatible version of JC and PE reveals that lack of extension of b in EF is an error or revision.

category imprint: Differences between sources

b. 65

composition: WN 17, Polonaise in B♭ major

No b1 in JC & EF

b1 in PE
..

From the piano performance's point of view, the four-note chord of PE is awkward (without using pedal, almost impossible to perform). Moreover, the b1 note also does not contribute to the harmonic content and burdens the chord's sound rather unnecessarily. Due to those reasons, we consider it to be erroneous – most probably it was left after an inaccurate proofing: the correct note (d2) was added in order to change b1 into d2, but the wrong one (b1) was not deleted. This kind of "half" proofings can often be met in first editions of Chopin's works, cf., e.g., the Ballade in G minor, Op. 23, bar 171 or the Scherzo in B minor, Op. 20, bars 135 and 292. Cf. also bar 15.

 

category imprint: Interpretations within context; Differences between sources

issues: Errors in PE , Partial corrections