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WN 17, Polonaise in B♭ major

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b. 64

composition: WN 17, Polonaise in B♭ major

No marks in JC & EF

Wedge & accent in PE

Our suggestion
..

The wedge and accents, visible in PE, probably come from [A]. According to us, the type of the accent, short or long, does not stem from the notation; therefore, we consider both possibilities, giving the priority to the long accent (cf. bar 65).  

category imprint: Differences between sources

b. 64

composition: WN 17, Polonaise in B♭ major

a-c1-a1 in JC

a-f1 in EF

a-c1-f1 in PE
..

a1 as the highest note of the chord is most probably an error of JC; it is revealed by f1 which is featured both in EF and PE. Analogously, the compatible presence of the c1 note in this chord in JC and PE leads to a conclusion that its omission is probably an error of EF. In the main text we give the version of PE, which does not raise any doubts.

category imprint: Differences between sources

issues: Terzverschreibung error , Uncertain notes on ledger lines , Errors of JC , Errors in Fontana's editions

b. 64-65

composition: WN 17, Polonaise in B♭ major

 twice in JC

No ornaments in EF

 twice in PE
..

The indications  and  are synonymous in this context. It remains a mystery, why the ornaments in those bars were not included in EF.

category imprint: Differences between sources

b. 64-66

composition: WN 17, Polonaise in B♭ major

No slurs in JC & EF

Slurs in PE
..

Three slurs in the part of the L.H. come from PE. As they were probably drawn from [A], we consider them in the main text.  

category imprint: Differences between sources

b. 64

composition: WN 17, Polonaise in B♭ major

No markings in JC

  in EF

cresc. in PE
..

The dynamic hairpins proposed by EF suggest a natural virtuoso panache of the phrase in this bar. The only dynamic indication of PE, cresc. at the end of the bar, clearly runs counter to them. In the main text we give the indications of the base source.

category imprint: Differences between sources