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b. 62
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composition: WN 17, Polonaise in B♭ major
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Lack of hold of the 2nd quaver of the bar in JC is most probably a result of the copyist's oversight of the ties. category imprint: Differences between sources issues: Errors of JC |
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b. 62
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composition: WN 17, Polonaise in B♭ major
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The accent over the syncopation is an unquestionable improvement of notation, introduced by Chopin into [A] (→PE). category imprint: Differences between sources |
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b. 62-63
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composition: WN 17, Polonaise in B♭ major
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In the main text we give the slurs of PE in bar 62 (as well as other indications concerning four semiquaver triplets). The slurs do not indicate articulation; they are only a part of marking of the triplets. In EF, the slurs visible in both bars, despite being similar with the slurs of PE in bar 62, are probably an addition by Fontana – cf. the note on slurs in bars 64-66. category imprint: Differences between sources |
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b. 62
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composition: WN 17, Polonaise in B♭ major
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The wedges over the last semiquavers of triplets in PE probably come from [A]. It is not entirely clear how the signs are to be understood if the staccato articulation for all semiquavers was probably determined with a relevant verbal indication. category imprint: Differences between sources |
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b. 62
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composition: WN 17, Polonaise in B♭ major
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The digits 3, improving the use of triplets, are only in PE. category imprint: Source & stylistic information |
