Slurs
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b. 80
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composition: WN 17, Polonaise in B♭ major
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Taking into consideration the beginning of the slur in PE, one could have doubts concerning its starting point; whether it starts from the 1st or the 2nd note. In the main text we propose a more natural reading of this detail, according to us, compatible with the slur given in EF. Cf. bars 80-81. category imprint: Graphic ambiguousness; Differences between sources |
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b. 81
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composition: WN 17, Polonaise in B♭ major
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In the main text we give the slur of PE, undoubtedly drawn from [A]. However, one can have doubts concerning the correct reading of the autograph's notation in PE. The slurs over the dots tend to embrace only the notes marked in this way, usually of the same pitch (cf. bars 8-10, 16, 59). Chopin's slurs in similar contexts are generally lacking precision, which often impedes their interpretation, cf., e.g., the Mazurka in G minor, Op. 24 No. 1, bar 21. Therefore, it is possible that in this case the slur was supposed to embrace only five quavers (starting from the second one) in Chopin's intentions. category imprint: Interpretations within context; Differences between sources |
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b. 82-85
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composition: WN 17, Polonaise in B♭ major
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We give the slurs of PE, which are an unquestionable improvement of [A] in relation to [AI]. Similarly in the part of the R.H. and in bars 86-87. category imprint: Differences between sources |
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b. 83-85
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composition: WN 17, Polonaise in B♭ major
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The slurs that we give in the main text are present only in PE. Similarly as in the case of the slurs in the L.H., their authenticity does not raise any doubts. category imprint: Differences between sources |
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b. 86-87
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composition: WN 17, Polonaise in B♭ major
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In the main text we give the undoubtedly authentic slurring of PE. category imprint: Differences between sources |
