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WN 17, Polonaise in B♭ major

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b. 5-7

composition: WN 17, Polonaise in B♭ major

1 octave in JC

2 octaves in EF

6 octaves in PE
..

Similarly as in bars 1-2, we consider the versions of JC and EF as a result of an erroneous reading of the autograph of the previous version of the Polonaise, [AI]. Cf. also the remark concerning bars 3-4. 

category imprint: Differences between sources

b. 5-6

composition: WN 17, Polonaise in B♭ major

No marks in JC & PE

Accents in EF

Our suggestion
..

The accents in EF, as in analogous bars 1-2, are probably Fontana's additions. We propose to complete the dynamic hairpins and accents after the indications of PE in bars 1-2. We adopt a similar procedure in the case of the slurs embracing the motifs in the R.H.

category imprint: Differences between sources; Editorial revisions

b. 5-6

composition: WN 17, Polonaise in B♭ major

No slurs in JC, PE & EF

Our suggestion
..

According to us, more precise indications in bars 1-2 were added by Chopin also as a model for analogous bars 5-6. Therefore, we propose to complete the slurs. Cf. also the remark referring to dynamic markings.

category imprint: Editorial revisions

b. 5

composition: WN 17, Polonaise in B♭ major

No marking in JC & PE

 in EF
..

 in EF is probably Fontana's addition, as it is not featured neither in JC nor in PE. In this case, one can doubt the accuracy of this addition, for the homogenous texture of the introduction does not justify such a type of dynamic change, breaking the unity of the introductory phrase of the Polonaise.

category imprint: Differences between sources

b. 5-6

composition: WN 17, Polonaise in B♭ major

..

In JC, there are no flats lowering a and a1 into a and a1. The undeniable oversight of Chopin in [A] (→JC) is revealed by the cautionary  before a in bar 7. 

category imprint: Differences between sources

issues: Cautionary accidentals , Omission of current key accidentals , Errors of JC