Articulation, Accents, Hairpins
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b. 1-3
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composition: WN 17, Polonaise in B♭ major
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We give the dynamic hairpins after PE, which in case of those bars seems to be the most developed source by Chopin – cf. remarks concerning bars 1-2 (slurs), bars 1-3 (the part of the L.H.), bar 3 (the part of the R.H.), and bar 4 (performance markings). category imprint: Differences between sources |
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b. 1-3
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composition: WN 17, Polonaise in B♭ major
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The sources differ in the shape and placement of the accents on the 2nd beat of those bars (in JC there are no signs here). As far as the graphics is concerned, the authenticity of both vertical accents placed in PE above the upper pentagram and common accents between the pentagrams in EF does not raise any doubts – Chopin would frequently use both types of notation. In this context, they basically indicate the same performance, as the signs placed in both the first and second positions are to be considered as referring to the parts of both hands. category imprint: Differences between sources issues: Vertical accents |
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b. 4
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composition: WN 17, Polonaise in B♭ major
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The diminuendo hairpins, present only in PE, probably refer to the part of the R.H. 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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The accents in EF, as in analogous bars 1-2, are probably Fontana's additions. We propose to complete the dynamic hairpins and accents after the indications of PE in bars 1-2. We adopt a similar procedure in the case of the slurs embracing the motifs in the R.H. category imprint: Differences between sources; Editorial revisions |
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b. 8-10
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composition: WN 17, Polonaise in B♭ major
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Dots under a slur were willingly used by Chopin to indicate the portato articulation (cf. e.g. the Nocturne in D category imprint: Differences between sources |
in 
major, Op. 27 No. 2,