mUltimate Chopin

WN 17, Polonaise in B♭ major

Text Compare Notes Sources Description

Issues : Errors in PE

b. 9

composition: WN 17, Polonaise in B♭ major

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In JC, FEF, and PE, the 5th quaver f is not extended to the value of a crotchet. It is certainly a mistake (the notation's inaccuracy), as the necessity to extend stems from the presence of the tie sustaining this note to the minim f in bar 10. Moreover, in JC, the last quaver, f1, is written erroneously in a two-part form. FEF has a correct notation.

category imprint: Source & stylistic information

issues: Errors of JC , Errors in PE , Errors in Fontana's editions , Fontana's revisions

b. 12

composition: WN 17, Polonaise in B♭ major

Chord in JC

Sixth in EF

Another chord in PE

Our suggestion
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The sound of the 2nd quaver intended by Chopin gives rise to doubts. JC has here a b-e1-g1 triad, while EF  – a b-g1 sixth. Each of those versions smoothly combines both with the spread chord d-b-f1 in the previous bar and the next three quavers creating a B major chord. Those versions, and particularly the sixth confirmed in analogous bar 39, may be considered as a fully-fledged alternative for the reconstruction of the version of [A] described below.

PE has here an e-g-e1 chord, most probably including the erroneous in this context e note. Taking into consideration various possibilities of the lithographer's errors, as well as the harmonic content and the accompaniment's voice-leading, we consider the g-b-e1 chord as the most justified reconstruction of the version of [A] and we propose it in such form in the main text.

category imprint: Interpretations within context; Differences between sources

issues: Terzverschreibung error , Errors in PE

b. 12

composition: WN 17, Polonaise in B♭ major

No pedalling in JC

Pedalling in EF

Pedalling in PE
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Generally, Chopin's pedalling aims at holding the bass note as a background for the later performed harmonic filling. Therefore, the omission of exactly the bass note in the pedalling of PE indicates an inaccurate recreation of the notation of [A]. In the main text we adopt the pedalling of EF, compatible with the principles followed by Chopin in this respect.

category imprint: Interpretations within context; Differences between sources

issues: Errors in PE

b. 14-15

composition: WN 17, Polonaise in B♭ major

g1 tied in JC & EF

No tie in PE

Our variant suggestion
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The possibility of an erroneous omission of the slur in PE is increased by the graphic layout – bar 15 opens there a new line. Therefore, in the main text we propose a variant solution in the form of a slur in brackets.

category imprint: Differences between sources; Editorial revisions

issues: Errors in PE

b. 15

composition: WN 17, Polonaise in B♭ major

Chord without c1 in JC & EF

Chord with c1 in PE
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From the harmonic point of view, the four-note chord in PE is absolutely possible. However, the natural character of voice-leading in the triad version of JC and EF encourages to suppose that the version of PE may be erroneous. The engraver of PE could have taken an accidental ink spill on the intersection of the stem and ledger line for a note. The half correction also offers food for thought: adding the right note without deleting the wrong one. Such situations can often be found in Chopin's prints, which stems from the fact that adding a new note head was technically much easier than deleting the old one. In this case, it is c1 which was mistakenly left (cf. bar 65). For those reasons, in the main text we adopt the chord without c1. 

category imprint: Differences between sources

issues: Errors in PE , Partial corrections