Slurs
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b. 1-2
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composition: WN 17, Polonaise in B♭ major
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We give slurs of PE. There is no reason to doubt their authenticity – it is one of numerous improvements of the notation of [A] (→PE), making it more precise, in comparison with [AI]. category imprint: Differences between sources |
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b. 5-6
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composition: WN 17, Polonaise in B♭ major
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According to us, more precise indications in bars 1-2 were added by Chopin also as a model for analogous bars 5-6. Therefore, we propose to complete the slurs. Cf. also the remark referring to dynamic markings. category imprint: Editorial revisions |
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b. 11
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composition: WN 17, Polonaise in B♭ major
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The slur in EF – despite the fact that it corresponds to the natural phrasing – is probably an addition by Fontana. A similar reservation concerns the slur in bar 12. category imprint: Differences between sources |
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b. 12
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composition: WN 17, Polonaise in B♭ major
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In the main text we give the slurs after PE, which probably come from [A]. They continue the slurring with which the accompaniment in PE in bars 10-11 was provided. category imprint: Differences between sources |
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b. 13
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composition: WN 17, Polonaise in B♭ major
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Lack of slurs in JC means that the slurs in EF, both in this and in the next bar, are an addition by Fontana. At the same time, it is hard to determine which factor was significant to him, while he was differentiating those two so similar in terms of music bars. In the main text we adopt the slur of PE, most probably drawn from [A]. category imprint: Differences between sources |
