b. 63
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composition: WN 17, Polonaise in B♭ major
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We give the little slur on the basis of PE. category imprint: Interpretations within context; Differences between sources |
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b. 63
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composition: WN 17, Polonaise in B♭ major
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On the 4th quaver of the bar in JC, there is a figure which fills a crotchet with its rhythmic values: . According to us, the error consists in writing two-time bigger rhythmic values and could be already in [AI]. This kind of mistakes was frequent in Chopin's works, e.g., in the Nocturne in D major, Op. 27 No. 2, bar 56. The hypothesis allows to explain also the creation of the version of EF: having encountered the error in [AI], Fontana corrected it with the method of as little changes as possible, extending the lower beam. In the main text we give the probably unique authentic rhythm, recreated faultlessly in PE. category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Errors of JC |
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b. 64-65
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composition: WN 17, Polonaise in B♭ major
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The pedalling of EF, although compatible with typical ploys of the Chopin pedalling, is probably non-authentic. category imprint: Differences between sources |
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b. 64
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composition: WN 17, Polonaise in B♭ major
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The meaning of the indication legatiss., coming from PE (and probably from [A]), is not entirely clear if we take into consideration the slurs which accompany it. According to us, Chopin could have in mind something else than only a linear legatissimo: or even: . category imprint: Differences between sources |
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b. 64-66
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composition: WN 17, Polonaise in B♭ major
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Without having insight into [A] it is impossible to determine if all the details of notation of the slurs were recreated correctly in PE. However, there is no doubt that Chopin had a totally different slurring concept than the one presented by Fontana in EF. category imprint: Differences between sources |