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WN 17, Polonaise in B♭ major

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Pitch

b. 20

composition: WN 17, Polonaise in B♭ major

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In JC, the initial e is provided with a flat, which is unnecessary in this context.

category imprint: Source & stylistic information

issues: Cautionary accidentals , Last key signature sign

b. 21

composition: WN 17, Polonaise in B♭ major

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We add a cautionary  before the grace note.

category imprint: Editorial revisions

b. 21

composition: WN 17, Polonaise in B♭ major

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The first note of the bar in JC is the erroneous e instead of f. Similarly in bar 48, which is not written out in JC.

category imprint: Interpretations within context; Differences between sources

issues: Errors of JC

b. 21

composition: WN 17, Polonaise in B♭ major

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We add a cautionary  before a1.

category imprint: Editorial revisions

b. 22

composition: WN 17, Polonaise in B♭ major

Tied b2 in JC

Repeated b​2 in #FE

Rest in PE

Our suggestion
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At the beginning of the bar, both JC and EF have a b2 quaver (without any performance markings). The note in JC is linked with a slur with the previous b2 at the end of bar 21; the slur seems to sustain the note. In the same place, PE has a quaver rest, which, according to us, was erroneously inserted instead of a note (the engraver's error would consist in repeating the rest featured after the a2 quaver before it). In the main text we propose a version in which the described possible error of PE was corrected on the basis of the remaining sources. At the same time, we consider a possible in this context staccato dot over the note. 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Errors in PE