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b. 23
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composition: WN 17, Polonaise in B♭ major
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In the main text we give the evident, faultlessly written rhythm of PE (together with the slur combining the final F with the chord in the next bar). The version of JC includes an error (7 quavers in a bar), however, it is not said that it must have been in [AI]. If this was the case, it has to be the rhythm of EF that would correspond to Chopin's intentions. However, if the rhythmic error had already been in [AI], the version of EF would have been only one of the attempts to guess Chopin's intentions. Therefore, the intended version of [AI] could be generally compatible with the text of PE – one should only correct the erroneous notation by adding a quaver flag to the last F (by the way, it would correspond to subscribing the note under the part of the R.H. in JC). category imprint: Interpretations within context; Differences between sources issues: Errors of JC |
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b. 23
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composition: WN 17, Polonaise in B♭ major
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In PE there is no arpeggio before this chord, which in this context is certainly an oversight. In JC, both signs of arpeggio in this bar are placed after chords. It seems to be one of the numerous graphic slips committed by the copyist (it also concerns bar 50, which is not written out in JC). category imprint: Differences between sources; Source & stylistic information issues: Errors in PE , Inaccuracies in JC |
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b. 24
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composition: WN 17, Polonaise in B♭ major
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The repetition of bars 1-24 is marked only in EF, yet the adopted there notation with the use of two voltas is essentially unjustified and certainly does not correspond to Chopin's notation. In spite of that, the repetition itself of the initial section of the piece seems to correspond to the composer's intentions. The need for such a repetition is clearly indicated by the form of other polonaises by Chopin, both the unpublished and published during Chopin's life. Therefore, it suggests that the notation of the remaining sources may be inaccurate in this respect. An imprecise notation of the repetitions is not a rare situation in the autographs of such dance forms as polonaises or mazurkas, cf., e.g., the Polonaise in A category imprint: Differences between sources |
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b. 24
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composition: WN 17, Polonaise in B♭ major
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The rhythm in JC is probably original. The version with the rest, included in EF and PE, appears in Chopin's polonaises in this type of cadenza formulas much more frequently. category imprint: Differences between sources |
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b. 24
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composition: WN 17, Polonaise in B♭ major
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The cautionary category imprint: Differences between sources issues: Cautionary accidentals |
, WN 3, the Polonaise in C
, Op. 26 No. 1 or the Mazurka in A
