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b. 4
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composition: Op. 45, Prelude in C♯ minor
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The notation of FE (→EE1) is less precise than the notation of GE (and EE2), probably taken from [A2]. It is not possible to determine whether that fact results from the incorrect reading of [A1] by the engraver or from the less careful notation of the autograph itself. category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 4
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composition: WN 17, Polonaise in B♭ major
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On the last beat of the bar, EF has crotchets in the parts of both hands. The compatible rhythms of JC (based on [AI]) and PE (based on [A]) give rise to doubts over the authenticity of the version included in EF. category imprint: Differences between sources |
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b. 4
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composition: WN 17, Polonaise in B♭ major
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There are no reasons to doubt the authenticity of the indication marcato in PE. Most probably it refers to the L.H. category imprint: Differences between sources |
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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. 4
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composition: WN 17, Polonaise in B♭ major
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In JC, there is a cautionary category imprint: Source & stylistic information issues: Cautionary accidentals |
in 
in 
before the third quaver (A), which is completely unjustified in the context of the version of bar 3 written in that copy.