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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. 80-81

composition: WN 17, Polonaise in B♭ major

No markings in JC

dim.  in EF

  in PE
..

Despite the fact that the dynamic markings of EF and PE, partially compatible in bars 80 and 81, are not entirely contradictory, they indicate rather different concepts. In the main text we follow the base text, i.e. PE, as the markings of EF were probably written by Fontana. Cf. bars 79-80. 

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b. 82

composition: WN 17, Polonaise in B♭ major

No markings in JC & EF

Dots under slur in PE
..

The characteristic for this Polonaise markings of the portato articulation (dots under a slur), present only in PE, are certainly authentic. Cf. bars 8-10.

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b. 83

composition: WN 17, Polonaise in B♭ major

No mark in JC & EF

Accent in PE
..

The long accent of PE, characteristic for Chopin, is one of a number of elements confirming the authenticity of this source.

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issues: Long accents

b. 83

composition: WN 17, Polonaise in B♭ major

No signs in JC & EF

 in PE
..

In the main text we give the  signs in bars 83 and 85 drawn from PE. Highlighting the ascending movement of seconds with a  sign in order to emphasise an expressively important chord or a note was an often used ploy by Chopin in, e.g., the Prelude in A minor, Op. 28 No. 2, bars 15-16.

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category imprint: Differences between sources; Source & stylistic information

b. 86-87

composition: WN 17, Polonaise in B♭ major

No signs in JC

 in EF

  in PE
..

In the main text we consider the dynamic hairpins of PE. Their simultaneous use with verbal indications, which apparently bear the same meaning, is characteristic for Chopin. The   signs generally refer to the changes of melodic line, whereas verbal indications – to the entire sound; therefore, they can differ in their range and even in the direction of the indicated change. Cf. the note concerning bar 64.

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category imprint: Differences between sources