Articulation, Accents, Hairpins
b. 22
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composition: WN 17, Polonaise in B♭ major
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In the main text we give visible in PE. According to us, it cannot be excluded that the range of the sign was misinterpreted by the engraver; therefore, as an alternative, we propose slightly shorter hairpins which correspond to the division into motifs indicated by the rest and slurs. In JC and EF, there are no performance markings in this bar. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in PE |
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b. 23
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composition: WN 17, Polonaise in B♭ major
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In the main text we give the most probably authentic dynamic markings of PE. category imprint: Differences between sources |
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b. 24
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composition: WN 17, Polonaise in B♭ major
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In the main text we consider the most probably authentic hairpins from PE. Cf., e.g., the notes related to bars 20 and 23. category imprint: Differences between sources |
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b. 24
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composition: WN 17, Polonaise in B♭ major
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The combination of and an accent is featured both in EF and in PE, yet in EF the accent is short, while in PE – long. In JC there are no indications. (In GEF there is no accent in Da Capo, written out in notes). category imprint: Differences between sources issues: Long accents |
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b. 25-31
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composition: WN 17, Polonaise in B♭ major
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The wedges over and under the first notes in bars 25, 27, 29, and 31 are only in PE. We consider this improvement of the notation, most probably introduced into [A], in the main text. The first of the wedges for the L.H. was mistakenly put under G in bar 24. In bar 31, only the sign referring to the L.H. was printed. category imprint: Differences between sources issues: Inaccuracies in PE |