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WN 17, Polonaise in B♭ major

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 56-57

composition: WN 17, Polonaise in B♭ major

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In JC and PE, in order to mark the staccato articulation of some notes, wedges were used. Neither of the markings is present in EF. Due to their close relation to the slurs, we consider them in variants of the previous note. The same applies to bars 92-93.

category imprint: Differences between sources

b. 58-59

composition: WN 17, Polonaise in B♭ major

No markings in JC & EF

Dots under slur in PE
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Portato markings (dots under the slur) in bars 58-59 in PE most probably come from [A]. In bar 58 their notation is almost certainly inaccurate: dots over two f1 notes are probably a sign of portato markings over four first quavers, while the slur over the dots in the part of the L.H. should start from the 2nd quaver. Due to the fact that the markings cannot be separated from the version of voice-leading introduced into [A], we include them into the variants described in the note dedicated to this issue.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Inaccuracies in PE

b. 58

composition: WN 17, Polonaise in B♭ major

No signs in JC & EF

 in PE

 in PE (interpretation)
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Three subsequent  signs visible in PE are most probably long accents (in Chopin's notation such signs ordered in a sequence, even if they are not long enough to be considered as accents, are similar in their meaning). However, it is only the first one that does not raise any doubts, both as the type of sign and its position are concerned. Therefore, in the case of the remaining two, we give both their literal reading and the most probable, according to us, interpretation.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in PE

b. 59

composition: WN 17, Polonaise in B♭ major

No signs in JC & EF

 in PE
..

Both  hairpins and the slur and wedge come from PE. However, it seems unlikely that those accurate, probably drawn from [A] markings indicate reaching  dynamics, as it is in EF in the next bar.  

category imprint: Differences between sources

b. 60

composition: WN 17, Polonaise in B♭ major

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In the main text we consider the wedge of PE, most probably coming from [A]. Same in bar 96.

category imprint: Differences between sources