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b. 52
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composition: WN 17, Polonaise in B♭ major
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In EF, there is no indication: Trio. Perhaps Fontana considered it as an auxiliary hint, making the form of the Polonaise more precise, and unnecessary one, as the entire piece is written in extenso. category imprint: Differences between sources |
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b. 52
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composition: WN 17, Polonaise in B♭ major
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It is hard to determine whether the time signature marking at the beginning of the Trio visible in PE was actually written out in [A]; however, it is very likely that it is the way a few other Polonaises created before Chopin's definitive departure from Poland were written down. category imprint: Differences between sources |
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b. 52
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composition: WN 17, Polonaise in B♭ major
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category imprint: Differences between sources |
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b. 52-53
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composition: WN 17, Polonaise in B♭ major
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Dynamic hairpins in those bars are one of the improvements of notation in [A] (→PE). category imprint: Differences between sources |
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b. 52-53
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composition: WN 17, Polonaise in B♭ major
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The slurs over the motifs filling the 1st beat of those bars constitute another element enriching the notation of [A] (→PE). In this source, there are no separate slurs for the L.H., which is a result of a different graphic layout in which the part of the R.H. is written partially on the lower staff. We add the slurs, as in bar 60 Chopin used a separate slur for analogous figure in the L.H. in the graphic layout adopted by us. In this type of context, using one or two slurs does not have any impact on the performance (cf. bars 32-35). category imprint: Interpretations within context; Differences between sources; Editorial revisions |
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