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b. 14
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composition: WN 17, Polonaise in B♭ major
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In PE, due to small gaps between the notes, the moment when the slur begins is unclear. In the main text we adopt the slur from the beginning of the bar, as in analogous bar 13. This is also how it was printed in EF, yet in this case the end of the slur is drawn until the g3-b category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in PE |
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b. 14
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composition: WN 17, Polonaise in B♭ major
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We give the wedge visible in PE. One can ponder whether the lack of the sign in analogous bar 13 is not just a result of the engraver's oversight or Chopin's inaccuracy. category imprint: Differences between sources issues: Wedges |
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b. 14-15
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composition: WN 17, Polonaise in B♭ major
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The possibility of an erroneous omission of the slur in PE is increased by the graphic layout – bar 15 opens there a new line. Therefore, in the main text we propose a variant solution in the form of a slur in brackets. category imprint: Differences between sources; Editorial revisions issues: Errors in PE |
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b. 14
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composition: WN 17, Polonaise in B♭ major
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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 |
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b. 15
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composition: WN 17, Polonaise in B♭ major
category imprint: Differences between sources |
3 third. The latter generally makes no difference. 
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