WN 17, Polonaise in B♭ major

  b. 22

		Tied b2 in JC
		Repeated b​2 in #FE
		Rest in PE
		Our suggestion

The present place poses one of the most challenging source problems of the Polonaise. Neither the sources based on [AI] (JC and – indirectly – EF) nor PE based on [A] provide certainty as to the notation of a respective autograph. 

Among the previous versions, EF with the repeated b² is much closer to Chopin's style. Such a delaying dissonance struck after a note of the same pitch appears very often in Chopin's melodies, e.g., in bars 11-12, in the Nocturne in D major, Op. 27 No. 2, bars 40-41, the Mazurka in G minor, Op. 24 No. 1, bars 33-36, the Prelude in C minor, Op. 45, bars 13-14, 15-16, 36-37, and analogous, the Piano Concerto in E minor, Op. 11, 2nd mov., bars 33-34, 39-41. A respective figure with a hold is possible, yet it is much less often, e.g., in bars 12-14 or in the Piano Concerto in E minor, Op. 11, 1st mov., bars 618-619. The slur which is visible in JC is a sustaining tie, yet it cannot be excluded that the copyist did not understand the notation of [AI]. Such misunderstandings occurred frequently, e.g., in the Mazurka in B minor, Op. 24 No. 4, bars 36-37 and 98-99.

The version of PE, when read literally, corresponds to the version of JC, as far as the rhythm is concerned (number of strikes), however, the notation seems to be internally contradictory: the slur embracing b² and a² suggests creating a two-note motif with emphasis on the b² note, which is denied by its small rhythmic value. Taking into account the fact that the b² quaver – sustained or repeated – appears at the beginning of bar 22 both in JC and in EF, one can suspect a mistake of the engraver of PE in the rest opening the bar.

If the reasoning presented above is right and Chopin's intention was to repeat b² at the beginning of the bar, one should consider whether the note could have been provided with an articulation marking in [A]. According to us, there are two possible solutions: lack of a separate sign (as it is in EF) defining the legato articulation and – more likely – a dot (under the slur) indicating portato as in the case of the subsequent three notes.    

Compare the passage in the sources »

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Errors in PE

notation: Pitch

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