Slurs
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b. 13
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composition: WN 17, Polonaise in B♭ major
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In the main text we give the slur of PE, probably coming from [A]. category imprint: Differences between sources |
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b. 14
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composition: WN 17, Polonaise in B♭ major
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In PE, due to small gaps between the notes, the moment when the slur begins is unclear. In the main text we adopt the slur from the beginning of the bar, as in analogous bar 13. This is also how it was printed in EF, yet in this case the end of the slur is drawn until the g3-b category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in PE |
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b. 15
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composition: WN 17, Polonaise in B♭ major
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Lack of the slurs including each of the irregular semiquaver groups seems to be an error of JC. Generally, Chopin would provide such groups with a slur, most often together with a number determining the type of the group. Such slurs are most probably seen in FEF, while in GEF they have a form of ties sustaining the g1 crotchets. Also PE has here slurs which are a part of marking of irregular groups; however, due to the fact that Chopin additionally included the entire semiquaver figure under one slur, we omit the slurs in the main text (cf. General Editorial Principles, p. 16). category imprint: Interpretations within context; Differences between sources issues: Triplet slurs , Errors of JC |
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b. 15-16
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composition: WN 17, Polonaise in B♭ major
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The slur is featured only in PE. category imprint: Differences between sources |
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b. 16
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composition: WN 17, Polonaise in B♭ major
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The slur in PE certainly concerns both voices of the R.H., hence we move it over the stems in order not to suggest a relation to only one of them. After all, it is quite likely that such was the notation of [A], as the engravers routinely moved slurs (and other signs) to the side of note heads. category imprint: Differences between sources |
3 third. The latter generally makes no difference. 
