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WN 17, Polonaise in B♭ major

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b. 72

composition: WN 17, Polonaise in B♭ major

b1 in JC

Tied b1 in EF & PE
..

In JC, lack of the  raising b1 into b1 in bar 72 is probably an error of the copyist, similarly as lack of tie holding this note. The natural in bar 73 is featured in all sources, yet we omit it in the places where the note is sustained (cf. General Editorial Principles, p. 3).

category imprint: Differences between sources

issues: Errors of JC

b. 74

composition: WN 17, Polonaise in B♭ major

C-c in JC & EF

D-d in PE
..

The D-d octave in PE must be considered as an improvement in relation to the C-c octave, appearing in previous sources:

  • the bass movement makes this phrase similar to its predecessors in bars 62-63 and 70-71, while preserving the harmonic individuality (in each of the phrases the harmonic progression is different);
  • in the original version, the ninth d1 did not have a continuation (it was unresolved), whereas in the later version, the same note only doubles the d bass note, which obviously resolves into c.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 74-75

composition: WN 17, Polonaise in B♭ major

..

In JC, the accidentals before the 2nd quavers in the L.H., both the  in bar 74 and the  in bar 75 are placed on the level of b, which is a patent error.

category imprint: Interpretations within context; Source & stylistic information

issues: Inaccuracies in JC

b. 74

composition: WN 17, Polonaise in B♭ major

..

In JC, there are no cautionary flats before the first quaver in the R.H.

category imprint: Source & stylistic information

issues: Cautionary accidentals

b. 74

composition: WN 17, Polonaise in B♭ major

..

PE lacks the  lowering a3 into a3 in the 2nd group of demisemiquavers. The engraver's error (or maybe an error of Chopin himself) is indicated by a  in all remaining sources and the use of a notes in adjacent bars.

category imprint: Differences between sources

issues: Errors in PE