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b. 5-6

composition: WN 17, Polonaise in B♭ major

No slurs in JC, PE & EF

Our suggestion
..

According to us, more precise indications in bars 1-2 were added by Chopin also as a model for analogous bars 5-6. Therefore, we propose to complete the slurs. Cf. also the remark referring to dynamic markings.

category imprint: Editorial revisions

b. 5

composition: WN 17, Polonaise in B♭ major

No marking in JC & PE

 in EF
..

 in EF is probably Fontana's addition, as it is not featured neither in JC nor in PE. In this case, one can doubt the accuracy of this addition, for the homogenous texture of the introduction does not justify such a type of dynamic change, breaking the unity of the introductory phrase of the Polonaise.

category imprint: Differences between sources

b. 5-6

composition: WN 17, Polonaise in B♭ major

..

In JC, there are no flats lowering a and a1 into a and a1. The undeniable oversight of Chopin in [A] (→JC) is revealed by the cautionary  before a in bar 7. 

category imprint: Differences between sources

issues: Cautionary accidentals , Omission of current key accidentals , Errors of JC

b. 5

composition: WN 17, Polonaise in B♭ major

Rhythm in JC read literally

JC (contextual interpretation), PE & EF
..

Rhythmic values in the part of the R.H. in JC are not erroneous, yet a mistake of the copyist while writing such a rhythm which is in the remaining sources is more plausible. 

category imprint: Interpretations within context; Differences between sources

issues: Errors of JC

b. 5

composition: Op. 10 No 1, Etude in C major

b3 in CLI & EE

a3 in FE (→GE)
..

The b3 note on the last semiquaver of CLI and EE could be easily considered as a mistake except for the fact that in analogous bar 53 the sources have the same text. Therefore, it cannot be excluded that in CLI we are dealing with the original version, while in EE with the editor's revision.

category imprint: Differences between sources

issues: EE revisions , Errors in EE , Main-line changes , Errors of CLI