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WN 17, Polonaise in B♭ major

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b. 25-28

composition: WN 17, Polonaise in B♭ major

No slurs in JC & EF

Slurs in PE
..

The slurring of the third sequences in bars 25-26 and 27-28 comes from PE. Together with a consistent rhythm, it is a proof of crystalising of the idea for those phrases at the stage of writing [A]. Similarly in bars 29-30.

category imprint: Differences between sources

b. 25

composition: WN 17, Polonaise in B♭ major

No marking in JC & PE

 in EF
..

The credibility of , visible in EF at the beginning of the bar, seems to be dubious due to the lack of signs confirming the accent in this place ( at the end of bar 24 and analogous remain in accordance with the slurs and accents).

category imprint: Differences between sources

b. 25

composition: WN 17, Polonaise in B♭ major

No markings in JC & EF

 in PE
..

 given in the main text appears only in PE; however, there is no reason to question its authenticity.

category imprint: Differences between sources

b. 25-26

composition: WN 17, Polonaise in B♭ major

..

In the main text we consider the slur over four quavers in the L.H., despite the fact that, probably, it was recreated inaccurately. It is revealed by its range, which is not a natural consequence of the accompaniment's line. What is more, it cannot be excluded that the slur is a misread tie sustaining the f minim on the 2nd beat of the bar.

See bars 25-28.

category imprint: Differences between sources

issues: Errors in PE

b. 25-31

composition: WN 17, Polonaise in B♭ major

No signs in JC & PE

 in EF
..

The  markings in bars 25 and 31 appear only in EF, therefore, we do not include them in the main text, generally based on PE. However, considering them in performance seems to be totally justified.

category imprint: Differences between sources