Slurs
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b. 23-24
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composition: WN 17, Polonaise in B♭ major
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Each of the sources has a different slurring in these bars. When read literally, the slur of JC is not very convincing from the musical point of view, however, it is difficult to determine what could be the composer's intention in [AI]. It cannot be excluded that the right interpretation is included in the first slur in EF. category imprint: Differences between sources issues: Inaccuracies in JC |
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b. 24-31
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composition: WN 17, Polonaise in B♭ major
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The slurs at the transition between bars 24-25, 26-27 and analogous occur in all sources. The notation of JC is least accurate; it features only the slur in the R.H. in bars 26-27. In EF there are no slurs in bars 30-31 and in PE – in bars 26-27. category imprint: Differences between sources |
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b. 25-28
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composition: WN 17, Polonaise in B♭ major
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The slurring of the third sequences in bars 25-26 and 27-28 comes from PE. Together with a consistent rhythm, it is a proof of crystalising of the idea for those phrases at the stage of writing [A]. Similarly in bars 29-30. category imprint: Differences between sources |
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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. 26-30
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composition: WN 17, Polonaise in B♭ major
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In PE, the slurs combining the separated upper notes in bars 26, 28, and 30 probably refer to the entire chords. Cf. the note concerning bars 25-28. category imprint: Differences between sources |
