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b. 78-79
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composition: WN 17, Polonaise in B♭ major
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In the main text, we give the doubly marked in PE dynamic detail highlighting the trill and harmonic change on the 3rd beat of those bars with the help of category imprint: Differences between sources |
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b. 78-79
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composition: WN 17, Polonaise in B♭ major
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In the main text we consider the wavy lines visible in PE, which indicate filling the entire crotchets with trill. In turn, we do not consider the ending of the trill in bar 78, which in case of EF was probably added by Fontana. category imprint: Differences between sources issues: Fontana's revisions |
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b. 78
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composition: WN 17, Polonaise in B♭ major
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The rhythm on the 2nd quaver of the bar, compatible in JC and PE, is certainly authentic. In turn, the different version of EF may be a result of Fontana's revision. category imprint: Differences between sources issues: Fontana's revisions |
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b. 78
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composition: WN 17, Polonaise in B♭ major
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In the main text we give the slurs of PE. The slurring of EF is almost certainly a result of additions made by Fontana: the first slur coincides with his possible interference with the rhythmic notation. category imprint: Differences between sources |
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b. 78-80
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composition: WN 17, Polonaise in B♭ major
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In the entire A major fragment, it is only EF that has a correct notation, as far as the accidentals are concerned (however, we add both signs in the 3rd triplet in bar 80 and the natural in the 5th triplet, required in accordance with the rules adopted by us). PE lacks some of the signs, which, however, does not have any impact on determining the correct text; similarly in JC, where there are only few necessary signs. category imprint: Differences between sources issues: Accidentals in different octaves , Omission of current key accidentals , Inaccuracies in JC |
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