Rhythm
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b. 76-77
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composition: WN 17, Polonaise in B♭ major
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In PE, there are no dots extending the semiquavers on the 1st beat of those bars – both in bar 76 and the first one in bar 77. They are patent errors, perhaps provoked by a too tight packing of notes in those places. category imprint: Interpretations within context; Differences between sources issues: Errors in PE |
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b. 77-78
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composition: WN 17, Polonaise in B♭ major category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in PE |
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b. 78
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composition: WN 17, Polonaise in B♭ major
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The rhythm on the 2nd quaver of the bar, compatible in JC and PE, is certainly authentic. In turn, the different version of EF may be a result of Fontana's revision. category imprint: Differences between sources issues: Fontana's revisions |
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b. 78
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composition: WN 17, Polonaise in B♭ major
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The value of the semiquaver, which was given to the a1 note from the previous bar in EF, is most probably a result of Fontana's revision. In spite of that, we adopt it for the main text, as the crotchet visible in JC and PE may suggest the necessity to hold it with fingers, which certainly does not correspond to Chopin's intentions, if we take into account the rests and the indication leggiero. category imprint: Differences between sources; Editorial revisions |
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b. 78-79
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composition: WN 17, Polonaise in B♭ major
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In none of the sources the rhythmic notation of the accompaniment corresponds to alleged Chopin's intentions. At the same time, JC and EF recreate the notation of [AI], probably draft and inaccurate, whereas in PE we can see an attempt to read the improved and more precise notation of [A]. In the main text we propose a notation modelled on PE, which, according to us, most accurately recreates the notation intended by Chopin. category imprint: Differences between sources |
