Issues : Inaccuracies in PE
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b. 60-61
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composition: WN 17, Polonaise in B♭ major
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The slurs embracing the motifs on the 1st beat of those bars (in both hands) appear in PE (we do not take into account the slur in the R.H. in bar 60, which we consider in the note concerning the rhythm). In EF, there are no slurs in bar 61, whereas in JC, there are no slurs at all in those bars. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in PE |
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b. 65
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composition: WN 17, Polonaise in B♭ major
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The interpretation of the sign of PE, in spite that it was printed inaccurately, does not raise any major doubts (it is meant to emphasise the delaying dissonance e category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in PE |
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b. 67
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composition: WN 17, Polonaise in B♭ major category imprint: Differences between sources; Source & stylistic information issues: Accidentals in different octaves , Inaccuracies in PE , Inaccuracies in JC |
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b. 68-69
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composition: WN 17, Polonaise in B♭ major
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In the main text we give the slurs of PE. When read literally, they seem to embrace four notes in bar 68 and five in bar 69, which in a situation of an accurate repetition of the text, as far as the pitch and rhythm are concerned, seems to be unjustified. The range of the slur in bar 69, due to placing the crotchet on the upper stave, is rather doubtless, which cannot be said of the slur in bar 68 (in PE on the lower stave), whose intended range could be misinterpreted. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in PE |
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b. 71
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composition: WN 29, Waltz in E minor
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According to us, neither the original notation of PE1 (→GE,PE2) nor the version changed in PE3 (→PE4) – most probably under the influence of similar bar 87 – correspond to the performance envisioned by Chopin. When reading the grace notes suggested in our edition, the fact that they are written down differently ( category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in PE , |
in 
3), hence we include it in the main text.
raising f1 into f
and 
) becomes understandable, since the first one, a1, refers to the notation of the previous bars. Consequently, the bar starts with a broken sixth, which corresponds to the motifs in the preceding bars. A similar figure, performed similarly yet written down differently, can also be found in, e.g. the Waltz in A