Verbal indications
b. 55
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composition: WN 17, Polonaise in B♭ major
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indication in PE is probably authentic, however, it is not certain whether Chopin's intentions were correctly identified, as far as its position is concerned. It cannot be excluded that the piano dynamics is supposed to concern the entire bar. category imprint: Interpretations within context; Differences between sources |
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b. 60
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composition: WN 17, Polonaise in B♭ major
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The indication is only in EF. Its authenticity becomes a problem if we take into consideration the indications cresc. and in bars 61-62 in PE, which undoubtedly come from the autograph. According to us, those and previous dynamic indications of PE suggest only a local climax in the described place and a return to the dynamics from the beginning of the Trio (), to sum up, an effect which can be marked with the indication . category imprint: Differences between sources |
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b. 61
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composition: WN 17, Polonaise in B♭ major
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In the main text we consider cresc. which appears only in the base source, PE. 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 indication più in EF is probably non-authentic, same as which precedes it in bar 60. It is worth mentioning that despite the fact that the dynamic relation defined with those indications could be generally assumed as compatible with cresc. and in PE, the overall impression is totally different: the notation of PE is more precise in details (crescendos in bars 59 and 61), at the same time, it leaves more freedom by not determining the dynamics in bar 60; it also indicates the climax ( in bar 62) more clearly. 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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In the main text we consider a most probably authentic indication appearing in the base source, PE. category imprint: Differences between sources |