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b. 82
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composition: WN 17, Polonaise in B♭ major
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The indication recommending a clear highlighting of the bass "singing" is characteristic for Chopin – a similar marking is to be found in, e.g., the Variations in B category imprint: Differences between sources |
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b. 82
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composition: WN 17, Polonaise in B♭ major
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The characteristic for this Polonaise markings of the portato articulation (dots under a slur), present only in PE, are certainly authentic. Cf. bars 8-10. category imprint: Differences between sources |
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b. 82
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composition: WN 17, Polonaise in B♭ major
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Both forms of the rhythm are undoubtedly authentic and both are justified by certain stylistic arguments. In the main text we give the probably later version of PE. category imprint: Differences between sources issues: Main-line changes |
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b. 82-85
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composition: WN 17, Polonaise in B♭ major
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We give the slurs of PE, which are an unquestionable improvement of [A] in relation to [AI]. Similarly in the part of the R.H. and in bars 86-87. category imprint: Differences between sources |
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b. 82
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composition: WN 17, Polonaise in B♭ major
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We add cautionary naturals before c and c1. category imprint: Editorial revisions |
major, Op. 2, bar 25, the Rondo in F major, Op. 5, bar 151, the Rondo a la krakowiak, Op. 14, bar 502. Moreover, Chopin would often use a juxtaposition of indications which may seem to be contradictory, combined with the conjunction 'ma' (but), e.g., veloce ma accuratamente in the Variations in B
