Ornaments
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b. 50
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composition: WN 17, Polonaise in B♭ major
category imprint: Differences between sources |
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b. 52-60
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composition: WN 17, Polonaise in B♭ major
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In the earlier sources, some of the chords in the L.H. on the 3rd beat of bars 52 and 60 are provided with an arpeggio sign: JC has a wavy line in bar 52, while EF – in both. It is hard to determine what was Chopin's intention in this regard. Lack of wavy lines may be explained by an oversight, their presence – by a mistake resulting from a similarity with bars 53 and 61, and in the case of EF also from a generalising revision. It is also possible that Chopin changed his mind: at the time of writing [AI], he predicted arpeggios each time, while in [A] – already not. In the main text we give the version of PE without arpeggios. category imprint: Differences between sources issues: Inaccuracies in JC |
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b. 53-61
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composition: WN 17, Polonaise in B♭ major
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In JC, lack of arpeggio in the R.H. in bar 61 is probably a result of an oversight. All wavy lines in JC are put on the right-hand side of the chords. category imprint: Differences between sources issues: Inaccuracies in JC |
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b. 53-61
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composition: WN 17, Polonaise in B♭ major
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There is no reason to question the authenticity of any of those versions. Chopin most probably resigned from the G1 grace notes, while writing [A] (→PE). category imprint: Differences between sources |
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b. 60
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composition: WN 17, Polonaise in B♭ major
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The arpeggio in EF may be an addition by Fontana, although, e.g., an oversight in JC cannot be excluded. Having faith in the correctness of the version of PE, we give it in the main text. category imprint: Differences between sources |
