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WN 17, Polonaise in B♭ major

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b. 37

composition: WN 17, Polonaise in B♭ major

f-d1 in JC

f-d1 in FEF

f-d1 in FEF (without tie)

b-d1 in PE

Our alternative suggestion
..

In the previous sources, the accompaniment generally does not show any difference in comparison with the one in analogous bar 10 (in EF the sustained f minims from the previous bar are marked inaccurately ​– a respective tie is featured only in FEF in bars 36(r)-37(r), in Da Capo written out in notes). PE, in turn, has b as the bass note instead of the previous version with the f minim (sustained from the previous bar). According to us, it is not certain whether the version was really intended by Chopin: he could have mistakenly written here the original version of bar 38 (=11).

category imprint: Interpretations within context; Differences between sources

b. 37

composition: WN 17, Polonaise in B♭ major

Chord in JC

Chord in EF

Third in PE

Our suggestion
..

Both JC and EF have the f-a-e1 chord on the 3rd beat of the bar, yet they differ in the rhythmic values – in JC all components of the chord have values of quavers, while the upper e1 in EF is a crotchet. In PE, we see a simplified notation of the version of analogous bar 10 (the a-c1 third). According to us, it is probably a result of Chopin's negligence, who while writing [A] was already conscious of repeating the text written before (cf. another note in this bar). 

category imprint: Interpretations within context; Differences between sources

b. 37

composition: WN 17, Polonaise in B♭ major

..

In JC, both a1 in the group of semiquavers in the R.H. and a in the chord in the L.H. on the 3rd beat of the bar are provided with naturals. It illustrates Chopin's inclination to emphasise the 7th step of the major scale with cautionary accidentals, despite a correct key signature. 

category imprint: Source & stylistic information

issues: Cautionary accidentals , Last key signature sign

b. 38

composition: WN 17, Polonaise in B♭ major

JC

EF

PE, interpretation
..

In the previous sources, a similar version to the version of analogous bar 11 (JC) or the same one (EF) is written out. In the main text we give the clearly different version of PE, repeated from bar 11 (bar 38 is the first one out of the ones marked as Dal Segno).

In JC, it is the deletion of the f note on the 3rd beat of the bar that draws our attention, made in a way known from Chopin's corrections in pupils' copies.

category imprint: Differences between sources

issues: Inaccuracies in PE

b. 39

composition: WN 17, Polonaise in B♭ major

JC

EF

PE
..

category imprint: Differences between sources