Slurs
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b. 50-51
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composition: WN 17, Polonaise in B♭ major
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The slur is featured only in PE and it is inseparable from the included there version of the rhythm. category imprint: Differences between sources |
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b. 52-53
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composition: WN 17, Polonaise in B♭ major
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The slurs over the motifs filling the 1st beat of those bars constitute another element enriching the notation of [A] (→PE). In this source, there are no separate slurs for the L.H., which is a result of a different graphic layout in which the part of the R.H. is written partially on the lower staff. We add the slurs, as in bar 60 Chopin used a separate slur for analogous figure in the L.H. in the graphic layout adopted by us. In this type of context, using one or two slurs does not have any impact on the performance (cf. bars 32-35). category imprint: Interpretations within context; Differences between sources; Editorial revisions |
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b. 52
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composition: WN 17, Polonaise in B♭ major
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The meaning of the slur-like lines combining d and d1 with the chords on the 3rd beat of the bar is not entirely clear in PE – it cannot be excluded that Chopin had in mind ties holding those notes. category imprint: Graphic ambiguousness; Differences between sources |
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b. 54
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composition: WN 17, Polonaise in B♭ major
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The slurs of EF are most probably an addition by Fontana. In the main text, we give the undoubtedly authentic slur of PE. category imprint: Differences between sources |
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b. 55
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composition: WN 17, Polonaise in B♭ major
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Two slurs visible in PE are probably authentic. Chopin sometimes used this type of notation in, e.g., the Piano Concerto in F minor, Op. 21, 1st mov., bars 218 and 220. category imprint: Differences between sources |
