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WN 17, Polonaise in B♭ major

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b. 80-81

composition: WN 17, Polonaise in B♭ major

No markings in JC & EF

Pedalling in PE
..

We give the undoubtedly authentic pedalling of PE.

category imprint: Differences between sources

b. 80-81

composition: WN 17, Polonaise in B♭ major

No slur in JC

End of slur in EF, possible interpretation of PE

End of slur in PE
..

We recreated the ending of the slur in bar 80 on the basis of PE. Those types of slurs, embracing two great staves, are sometimes inaccurately put by Chopin, so one can have doubts concerning the correct reading of the notation of [A] (cf. the note related to bar 81). In this situation it cannot be excluded that it is the longer slur of EF that is closer to Chopin's intentions.

category imprint: Interpretations within context; Differences between sources

b. 80

composition: WN 17, Polonaise in B♭ major

No slur in JC

Beginning of slur in EF, more likely reading of PE

Other reading of slur in PE
..

Taking into consideration the beginning of the slur in PE, one could have doubts concerning its starting point; whether it starts from the 1st or the 2nd note. In the main text we propose a more natural reading of this detail, according to us, compatible with the slur given in EF. Cf. bars 80-81.

category imprint: Graphic ambiguousness; Differences between sources

b. 80

composition: WN 17, Polonaise in B♭ major

..

In JC, the wavy line of the arpeggio is placed on the right-hand side of the chord.

category imprint: Source & stylistic information

b. 81

composition: WN 17, Polonaise in B♭ major

No markings in JC & EF

Slur & dots in PE

Possible interpretation of PE
..

In the main text we give the slur of PE, undoubtedly drawn from [A]. However, one can have doubts concerning the correct reading of the autograph's notation in PE. The slurs over the dots tend to embrace only the notes marked in this way, usually of the same pitch (cf. bars 8-10, 16, 59). Chopin's slurs in similar contexts are generally lacking precision, which often impedes their interpretation, cf., e.g., the Mazurka in G minor, Op. 24 No. 1, bar 21. Therefore, it is possible that in this case the slur was supposed to embrace only five quavers (starting from the second one) in Chopin's intentions.

category imprint: Interpretations within context; Differences between sources