b. 24
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composition: WN 17, Polonaise in B♭ major
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In the main text we consider the most probably authentic hairpins from PE. Cf., e.g., the notes related to bars 20 and 23. 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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JC has a cautionary before a1, which is unnecessary in this context. category imprint: Source & stylistic information |
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b. 24
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composition: WN 17, Polonaise in B♭ major
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In each of the sources, the ornament at the end of the bar has a different form. We adopt written in EF over the R.H., as its application in this place does not raise any stylistic doubts, while in PE may be a result of a misreading of the sign by the engraver (both and tend to be very similar in Chopin's autographs). Therefore, the main text combines the most certain elements of the sources: an ornament, only in the R.H., as it is in EF and PE, and the sign of from JC and EF. category imprint: Interpretations within context; 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 combination of and an accent is featured both in EF and in PE, yet in EF the accent is short, while in PE – long. In JC there are no indications. (In GEF there is no accent in Da Capo, written out in notes). category imprint: Differences between sources issues: Long accents |
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b. 24-31
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composition: WN 17, Polonaise in B♭ major
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The slurs at the transition between bars 24-25, 26-27 and analogous occur in all sources. The notation of JC is least accurate; it features only the slur in the R.H. in bars 26-27. In EF there are no slurs in bars 30-31 and in PE – in bars 26-27. category imprint: Differences between sources |