Slurs
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b. 60-61
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composition: WN 17, Polonaise in B♭ major
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The slurs embracing the motifs on the 1st beat of those bars (in both hands) appear in PE (we do not take into account the slur in the R.H. in bar 60, which we consider in the note concerning the rhythm). In EF, there are no slurs in bar 61, whereas in JC, there are no slurs at all in those bars. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in PE |
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b. 62-63
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composition: WN 17, Polonaise in B♭ major
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In the main text we give the slurs of PE in bar 62 (as well as other indications concerning four semiquaver triplets). The slurs do not indicate articulation; they are only a part of marking of the triplets. In EF, the slurs visible in both bars, despite being similar with the slurs of PE in bar 62, are probably an addition by Fontana – cf. the note on slurs in bars 64-66. category imprint: Differences between sources |
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b. 63
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composition: WN 17, Polonaise in B♭ major
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We give the little slur on the basis of PE. category imprint: Interpretations within context; Differences between sources |
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b. 64-66
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composition: WN 17, Polonaise in B♭ major
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Without having insight into [A] it is impossible to determine if all the details of notation of the slurs were recreated correctly in PE. However, there is no doubt that Chopin had a totally different slurring concept than the one presented by Fontana in EF. category imprint: Differences between sources |
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b. 64-66
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composition: WN 17, Polonaise in B♭ major
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Three slurs in the part of the L.H. come from PE. As they were probably drawn from [A], we consider them in the main text. category imprint: Differences between sources |
