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b. 32
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composition: WN 17, Polonaise in B♭ major
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The sources related to the previous autograph feature the indication ten. in several places. At the same time, it is hard to determine how the differences between JC and EF were created (see also bar 34); possible changes and additions made by Fontana and errors are concerned. In [A] (→PE), Chopin most probably resigned from those indications, therefore, we do not include them in the main text. category imprint: Differences between sources |
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b. 32
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composition: WN 17, Polonaise in B♭ major
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In the main text we give category imprint: Differences between sources |
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b. 32-34
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composition: WN 17, Polonaise in B♭ major
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We give the pairs of chords at the transition between bars 32 and 33 and 33 and 34 in the notation of PE. In the sources related to the earlier autograph – JC and EF – the sound of c1 notes is not extended to the next bar, while each pair of chords is combined with a quaver beam (except for GEF in bars 32-33). The placement of the slurs combining those pairs of chords is also different. category imprint: Differences between sources |
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b. 32-33
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composition: WN 17, Polonaise in B♭ major
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In the main text we give long accents on the basis of PE. In JC there are no signs, in EF the accents are short. category imprint: Differences between sources issues: Long accents |
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b. 32-34
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composition: WN 17, Polonaise in B♭ major
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Both in JC and in EF the pairs of chords at the transition between bars 32 and 33 and 33 and 34 are combined with one slur. In PE, there is a special notation, in which three slurs combine the corresponding chord components of each pair (the lower one is a tie sustaining c1). As such type of notation was used by Chopin, particularly in his early pieces, we give it in the main text. category imprint: Differences between sources |
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