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WN 17, Polonaise in B♭ major

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b. 10

composition: WN 17, Polonaise in B♭ major

..

JC has a  before a in the chord on the 3rd beat of the bar. In this harmonic context, the sign is unjustified. 

category imprint: Differences between sources

issues: Cautionary accidentals , Last key signature sign

b. 12

composition: WN 17, Polonaise in B♭ major

Chord in JC

Sixth in EF

Another chord in PE

Our suggestion
..

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

JC

EF

PE
..

Versions of JC and EF differ only in the presence or lack of the slur and the tie. In the main text we adopt the later melodically enhanced version of PE. The internal division of the tie is probably an arbitrary decision of the editor, as Chopin would never use such a notation.

category imprint: Differences between sources

issues: Main-line changes

b. 13

composition: WN 17, Polonaise in B♭ major

Seventh in JC

Three-note chord in EF

Octave in PE
..

The difference between versions of JC and EF most probably stems from the faint notation of [A]. Determining the presence of an inner note of the chord placed on a ledger line is sometimes hard to achieve in Chopin's autographs. In the main text we give the undoubtedly later version of PE. Cf. the remark concerning bar 14.

category imprint: Differences between sources

b. 14

composition: WN 17, Polonaise in B♭ major

Sixth in JC & EF

f in PE
..

In relation to the version of [AI] (→JC) and EF, in [A] (→PE) Chopin slightly reduced the texture of the accompaniment in this and the previous bar. He also underlined its syncopated character with the use of accents (cf. also the remark concerning the R.H.). In bar 14 the change concerns only the graphic and pianistic issues, for if we consider the authentic pedalling, the sound effect of both versions is the same, as far as the harmony is concerned.

category imprint: Differences between sources

issues: Errors of JC