mUltimate Chopin

WN 17, Polonaise in B♭ major

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Issues : Inaccuracies in JC

b. 62

composition: WN 17, Polonaise in B♭ major

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In JC, there is no  raising b into b, which is a patent oversight. 

category imprint: Source & stylistic information

issues: Inaccuracies in JC

b. 62

composition: WN 17, Polonaise in B♭ major

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In JC, there is no  lowering a into a, which is an obvious oversight. 

category imprint: Source & stylistic information

issues: Inaccuracies in JC

b. 67

composition: WN 17, Polonaise in B♭ major

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Lack of the  raising f1 into f1 in JC and PE is a patent Chopin's oversight.

category imprint: Differences between sources; Source & stylistic information

issues: Accidentals in different octaves , Inaccuracies in PE , Inaccuracies in JC

b. 68-69

composition: WN 17, Polonaise in B♭ major

Rhythmic notation in JC, interpretation

EF

PE
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The rhythmic notation of the 2nd and 3rd beats of those bars cause substantial problems as in bars 52-53 and analog. The analysis of the notation of JC suggests that Chopin initially wrote only four quavers in each hand in [AI] and then, in a simplified manner, separated some of the notes by extending their stems over the beams (a similar notation is to be found in the finished autograph of the Polonaise in F minor, WN 12, bars 23-24). The notation of EF is an alternative attempt to decipher the notation of [AI]. For the main text we adopt the notation of PE with a clearly highlighted melodic voice.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Inaccuracies in JC

b. 70

composition: WN 17, Polonaise in B♭ major

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In JC, there is no cautionary bass clef at the end of the great stave.

category imprint: Source & stylistic information

issues: Inaccuracies in JC