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b. 54
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composition: WN 17, Polonaise in B♭ major
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The slurs of EF are most probably an addition by Fontana. In the main text, we give the undoubtedly authentic slur of PE. category imprint: Differences between sources |
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b. 54
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composition: WN 17, Polonaise in B♭ major
..
In the main text we give the indication of PE, probably coming from [A]. category imprint: Differences between sources |
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b. 54
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composition: WN 17, Polonaise in B♭ major
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The rests of FEF were inserted only at the stage of printing instead of extending dots, present in all remaining sources. Therefore, it is certainly an arbitrary change introduced by Fontana in the last moment and not entirely coordinated with the slurs he added before. category imprint: Differences between sources issues: Fontana's revisions |
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b. 55
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composition: WN 17, Polonaise in B♭ major
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Two slurs visible in PE are probably authentic. Chopin sometimes used this type of notation in, e.g., the Piano Concerto in F minor, Op. 21, 1st mov., bars 218 and 220. category imprint: Differences between sources |
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b. 55
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composition: WN 17, Polonaise in B♭ major
..
In PE, five chords were written on the upper staff; we do not include this kind of notation, as it complicates it unnecessarily – the ensuing part of the L.H. is written in the treble clef on the lower staff. In JC, the 1st quaver is not combined with the subsequent ones. In EF, each of the first two quavers is written down separately. Similarly in bar 91. category imprint: Source & stylistic information |
