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b. 76
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composition: WN 17, Polonaise in B♭ major
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Both in EF and in PE, the accent, though placed differently, falls on the 2nd beat of the bar. In the case of PE, however, the inaccurate placement of the minim of the upper voice raises some doubts, as far as the correct reading of Chopin's notation in [A] in this edition is concerned. Due to this fact, taking into account the accent in analogous bar 72, we propose an alternative interpretation of the notation of PE. However, varied accents in bars 72 and 76 may be considered as justified: in bar 72 the appoggiatura is highlighted, whereas in bar 76 – the sustained common note, which is the axis of the enharmonic modulation in bars 77-78. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in PE |
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b. 76
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composition: WN 17, Polonaise in B♭ major
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JC has an erroneous tie in the L.H. on the first bar of the beat – there is only one tie written for the entire group. category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Errors of JC |
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b. 76-77
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composition: WN 17, Polonaise in B♭ major
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Two category imprint: Differences between sources |
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b. 76
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composition: WN 17, Polonaise in B♭ major
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We add cautionary category imprint: Editorial revisions |
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b. 76-77
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composition: WN 17, Polonaise in B♭ major
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In PE, there are no dots extending the semiquavers on the 1st beat of those bars – both in bar 76 and the first one in bar 77. They are patent errors, perhaps provoked by a too tight packing of notes in those places. category imprint: Interpretations within context; Differences between sources issues: Errors in PE |
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