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WN 17, Polonaise in B♭ major

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b. 11

composition: WN 17, Polonaise in B♭ major

..

In PE – certainly in accordance with the notation of the manuscript base text – there is an indication of the beginning of the repeated section at the end of the main part of the Polonaise (bars 38-51). In [AI] (→JC), a relevant shorthand begins only in bar 13. 

category imprint: Differences between sources; Source & stylistic information

b. 12

composition: WN 17, Polonaise in B♭ major

Chord in JC

Sixth in EF

Another chord in PE

Our suggestion
..

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

JC

EF

PE
..

Versions of JC and EF differ only in the presence or lack of the slur and the tie. In the main text we adopt the later melodically enhanced version of PE. The internal division of the tie is probably an arbitrary decision of the editor, as Chopin would never use such a notation.

category imprint: Differences between sources

issues: Main-line changes

b. 12

composition: WN 17, Polonaise in B♭ major

No pedalling in JC

Pedalling in EF

Pedalling in PE
..

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 17, Polonaise in B♭ major

 

Slurs in PE
..

In the main text we give the slurs after PE, which probably come from [A]. They continue the slurring with which the accompaniment in PE in bars 10-11 was provided.

category imprint: Differences between sources