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b. 3
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composition: WN 17, Polonaise in B♭ major
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The version of JC and EF, with a clearly audible doubled leading note B-b on the 5th quaver of the bar, is undoubtedly earlier. It is difficult to determine how the difference concerning sustaining the g note at the transition between bars 3 and 4 was developed. In PE, the lower note of the last semiquaver was printed on the level of c1, which is certainly a mistake corrected by us into d1. category imprint: Differences between sources issues: Main-line changes |
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b. 4
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composition: WN 17, Polonaise in B♭ major
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On the last beat of the bar, EF has crotchets in the parts of both hands. The compatible rhythms of JC (based on [AI]) and PE (based on [A]) give rise to doubts over the authenticity of the version included in EF. category imprint: Differences between sources |
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b. 4
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composition: WN 17, Polonaise in B♭ major
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There are no reasons to doubt the authenticity of the indication marcato in PE. Most probably it refers to the L.H. category imprint: Differences between sources |
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b. 4
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composition: WN 17, Polonaise in B♭ major
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The diminuendo hairpins, present only in PE, probably refer to the part of the R.H. category imprint: Differences between sources |
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b. 4
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composition: WN 17, Polonaise in B♭ major
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In JC, there is a cautionary category imprint: Source & stylistic information issues: Cautionary accidentals |
in 
before the third quaver (A), which is completely unjustified in the context of the version of bar 3 written in that copy.