Issues : Inaccuracies in JC
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b. 23-24
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composition: WN 17, Polonaise in B♭ major
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Each of the sources has a different slurring in these bars. When read literally, the slur of JC is not very convincing from the musical point of view, however, it is difficult to determine what could be the composer's intention in [AI]. It cannot be excluded that the right interpretation is included in the first slur in EF. category imprint: Differences between sources issues: Inaccuracies in JC |
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b. 23
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composition: WN 17, Polonaise in B♭ major
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In PE there is no arpeggio before this chord, which in this context is certainly an oversight. In JC, both signs of arpeggio in this bar are placed after chords. It seems to be one of the numerous graphic slips committed by the copyist (it also concerns bar 50, which is not written out in JC). category imprint: Differences between sources; Source & stylistic information issues: Errors in PE , Inaccuracies in JC |
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b. 26
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composition: WN 37, Lento con gran espressione
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The marks in CJ and CK look like long accents, although the one in CJ is written a quaver later. Having compared it with similar b. 22, we consider the mark of CK to be more accurate. The versions of CB and EL cannot be authentic; however, the diminuendo hairpin in EL is one of the possible interpretations of the manuscripts. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Long accents , Inaccuracies in JC , Balakirev's revisions |
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b. 31
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composition: WN 17, Polonaise in B♭ major
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In JC, there is no category imprint: Differences between sources issues: Inaccuracies in JC |
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b. 32-34
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composition: WN 17, Polonaise in B♭ major
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In JC the flats lowering g1 into g category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in JC |
in 
before the upper note of the octave on the 6th quaver of the bar. It is an evident inaccuracy of the notation.