b. 68
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composition: WN 17, Polonaise in B♭ major
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JC lacks all four dots extending the semiquavers on the 1st beat of the bar. It is a patent error. category imprint: Interpretations within context; Differences between sources issues: Errors of JC |
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b. 70
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composition: WN 17, Polonaise in B♭ major
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In JC, the chords in the L.H. are written with g1 instead of f1. In the same manuscript, one can see a number of cautionary accidentals, which somehow remind about their validity: a before e, e1 and e4, e3, a before a2 and a before f3. The flat before e1 on the 2nd quaver is also in PE. category imprint: Differences between sources; Source & stylistic information |
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b. 70
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composition: WN 17, Polonaise in B♭ major
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The authenticity of the fingering of EF is uncertain: it is not included in JC, therefore, it is almost certain that it was also absent in [AI]. The fingering, strictly positioning and compatible with the spirit of Chopin's fingering, however, does not include very characteristic ploys for this fingering. Due to those reasons, we do not include it in the main text. The same applies to bars 72, 74-75, and 75-76. category imprint: Differences between sources |
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b. 70-71
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composition: WN 17, Polonaise in B♭ major
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In the main text we give accurate and clear dynamic indications of PE. The striking effect of the unexpected harmonic turn, confirmed with a syncopation and resolved in a descending two-bar wave of figurations, appears in the Trio trice (in bars 70-71, 74-75, and earlier in bars 62-63). Each time it is described with details by Chopin. Cf. bars 72-73. The lonely in EF is probably an addition by Fontana and does not suggest the richness of the details indicated in PE even in the slightest extent. category imprint: Differences between sources |
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b. 70-71
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composition: WN 17, Polonaise in B♭ major
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We give the undoubtedly authentic pedalling of PE. In this case, the indications of EF, probably added by Fontana, entirely match Chopin's indications. category imprint: Differences between sources |