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WN 17, Polonaise in B♭ major

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Rhythm

b. 31

composition: WN 17, Polonaise in B♭ major

Quaver in JC & EF

Crotchet g in PE
..

In the main text we consider the longer crotchet resounding of the g bass note, indicated only in PE, as compatible with the performance manner of similar figures in bars 25, 27, and 29. 

category imprint: Differences between sources

b. 31-32

composition: WN 17, Polonaise in B♭ major

c2-e2 repeated in JC & PE

c2-e2 tied in EF
..

In EF, holding the c2 and e2 notes is probably an arbitrary change introduced by Fontana.

category imprint: Differences between sources

b. 32

composition: WN 17, Polonaise in B♭ major

..

In JC and GEF, the chord in the R.H. at the beginning of the bar is a crotchet. Without any doubt, it is an error (omission of a quaver flag). In bar 32(r) – repetition of bar 32 in Da Capo written out in notes – the described error does not appear in GEF.

category imprint: Interpretations within context; Differences between sources

issues: Errors of JC , Errors in Fontana's editions

b. 32-34

composition: WN 17, Polonaise in B♭ major

Rhythm and notation in JC & EF

PE
..

We give the pairs of chords at the transition between bars 32 and 33 and 33 and 34 in the notation of PE. In the sources related to the earlier autograph – JC and EF – the sound of c1 notes is not extended to the next bar, while each pair of chords is combined with a quaver beam (except for GEF in bars 32-33). The placement of the slurs combining those pairs of chords is also different.

category imprint: Differences between sources

b. 36

composition: WN 17, Polonaise in B♭ major

Quavers in JC & EF

Dotted rhythm in PE
..

On the 3rd beat of the bar, we give the dotted rhythm after PE, based on the later autograph – [A].

category imprint: Differences between sources

issues: Dotted or even rhythm