mUltimate Chopin

WN 17, Polonaise in B♭ major

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Issues : Accompaniment changes

b. 10-11

composition: WN 17, Polonaise in B♭ major

JC, literal reading

JC, interpretation

EF

PE, interpretation
..

In the main text we give the undoubtedly later version of the accompaniment written – with minor inaccuracies – in PE. The new shape of the accompaniment in this version was provided with slurs and the indication legato, probably by Chopin. The text of EF is a more precise notation of the earlier version, written in a partially draft form also in JC. In that last manuscript, it is three additional notes that draw attention; their meaning and relation to the remaining part of the notation is ambiguous. It could be, e.g., a draft of a new version of the bass line in this bar developed by Chopin.  

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Accompaniment changes , Inaccuracies in PE

b. 57

composition: WN 17, Polonaise in B♭ major

JC

EF

PE
..

The version of PE is an unquestionable improvement introduced by Chopin into [A]. 

category imprint: Differences between sources

issues: Accompaniment changes

b. 58

composition: WN 17, Polonaise in B♭ major

JC

EF

PE

PE, articulation marks interpreted
..

It is unclear what is the origin of the difference between versions of JC and EF, yet they are probably earlier than the version of PE, which we adopt for the main text. In the latter, thanks to a simplified texture, Chopin emphasises the descending phrase in bar 58 (repeated imitatively in bar 59), as well as avoids some complications in voice-leading (parallel sevenths).

category imprint: Differences between sources

issues: Accompaniment changes

b. 74

composition: WN 17, Polonaise in B♭ major

C-c in JC & EF

D-d in PE
..

The D-d octave in PE must be considered as an improvement in relation to the C-c octave, appearing in previous sources:

  • the bass movement makes this phrase similar to its predecessors in bars 62-63 and 70-71, while preserving the harmonic individuality (in each of the phrases the harmonic progression is different);
  • in the original version, the ninth d1 did not have a continuation (it was unresolved), whereas in the later version, the same note only doubles the d bass note, which obviously resolves into c.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes