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Issues : Errors in PE
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. 25-26
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composition: WN 17, Polonaise in B♭ major
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In the main text we consider the slur over four quavers in the L.H., despite the fact that, probably, it was recreated inaccurately. It is revealed by its range, which is not a natural consequence of the accompaniment's line. What is more, it cannot be excluded that the slur is a misread tie sustaining the f minim on the 2nd beat of the bar. category imprint: Differences between sources issues: Errors in PE |
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b. 27-29
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composition: WN 17, Polonaise in B♭ major
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To the main text we adopt two category imprint: Interpretations within context; Differences between sources issues: Sign reversal , Errors in PE |
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b. 33-34
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composition: WN 17, Polonaise in B♭ major
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Both category imprint: Differences between sources issues: Errors in PE |
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b. 36
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composition: WN 17, Polonaise in B♭ major
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The sources differ here in the notation of the rest for the part of the R.H.; JC has a crotchet rest, which certainly corresponds to the notation of [AI]. In PE, the crotchet rest is additionally extended with a dot, which is a patent error, however, it reveals that also in the case of [A], Chopin insisted on his simplified way of notation. Two quaver rests in EF are probably a result of Fontana's revision. category imprint: Interpretations within context; Differences between sources issues: Errors in PE |