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WN 17, Polonaise in B♭ major

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b. 65

composition: WN 17, Polonaise in B♭ major

No b1 in JC & EF

b1 in PE
..

From the piano performance's point of view, the four-note chord of PE is awkward (without using pedal, almost impossible to perform). Moreover, the b1 note also does not contribute to the harmonic content and burdens the chord's sound rather unnecessarily. Due to those reasons, we consider it to be erroneous – most probably it was left after an inaccurate proofing: the correct note (d2) was added in order to change b1 into d2, but the wrong one (b1) was not deleted. This kind of "half" proofings can often be met in first editions of Chopin's works, cf., e.g., the Ballade in G minor, Op. 23, bar 171 or the Scherzo in B minor, Op. 20, bars 135 and 292. Cf. also bar 15.

 

category imprint: Interpretations within context; Differences between sources

issues: Errors in PE , Partial corrections

b. 65

composition: WN 17, Polonaise in B♭ major

f1-c2 in JC

d1-f1-c2 in EF & PE
..

Lack of d1 in JC is probably an oversight.

category imprint: Differences between sources

issues: Errors of JC

b. 65-66

composition: WN 17, Polonaise in B♭ major

..

In few places in JC there are unjustified cautionary flats: in bar 65 before e2 at the beginning of the bar and b on the 3rd beat, in bar 66 before e1 on the 2nd quaver and e in the 5th triplet. 

category imprint: Source & stylistic information

issues: Cautionary accidentals

b. 65-66

composition: WN 17, Polonaise in B♭ major

..

In JC, there is no octave sign over the part of the R.H. in those bars, as a result of which, the entire bar 65 and two triplets in bar 66 are written one octave lower. The awkward blends with the part of the L.H. (the second triplets of both bars) and the compatible version of EF and PE reveal the copyist's error in this place. Similarly in bars 101-102.

category imprint: Source & stylistic information

issues: Errors of JC

b. 66

composition: WN 17, Polonaise in B♭ major

..

In the sources there is no  before a1. It is related to different range of the octave sign at the beginning of the bar: the second semiquaver triplet is still not embraced by it, which makes that the  on the level of a1 (in the notation) appears already before the 6th semiquaver of the bar.

category imprint: Source & stylistic information

issues: Accidentals in different octaves