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WN 17, Polonaise in B♭ major

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b. 32-34

composition: WN 17, Polonaise in B♭ major

..

In JC the flats lowering g1 into g1 on the 3rd beat of bars 32-33 and G into G (in the L.H.) in bar 34 were omitted.  

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in JC

b. 32-33

composition: WN 17, Polonaise in B♭ major

..

The flats before d and g in the part of the L.H. are included in PE (all of them) and JC (apart from d in bar 33). They are not present in EF. The use of signs in such a context is exclusively a question of convention, hence we preserve the notation of the base source.

category imprint: Source & stylistic information

issues: Cautionary accidentals

b. 32-34

composition: WN 17, Polonaise in B♭ major

No slurs in JC

Slurs in EF & PE
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The slurs combining g and f at the transition between bars 32 and 33 and 33 and 34 are in EF and PE. Lack of slurs in JC may be explained with, e.g., the copyist's oversight; however, their accurate completion by Fontana seems to be more probable.

category imprint: Differences between sources

b. 33-34

composition: WN 17, Polonaise in B♭ major

 

 in PE

Our variant suggestion
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Both  signs (in bars 34 and 35) come from PE, in the remaining sources there are no verbal dynamic indications in those bars. The presence of two  signs over a short fragment raises doubts as to a possible misunderstanding in reading [A]. Due to this fact, in the main text we give the sign in bar 34 in brackets. Cf. also the note related to bar 35. 

category imprint: Differences between sources

issues: Errors in PE

b. 33

composition: WN 17, Polonaise in B♭ major

No sign in JC & EF

< in #Wp

> suggested by the editors
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The sign of accent, visible only in PE, is reversed to the left. Therefore, its way of interpretation is not entirely clear. In the main text we propose an interpretation assuming an error of the sign's reversal. 

category imprint: Differences between sources

issues: Sign reversal , Inaccuracies in PE