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WN 17, Polonaise in B♭ major

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b. 62

composition: WN 17, Polonaise in B♭ major

..

In JC, there is no  raising b into b, which is a patent oversight. 

category imprint: Source & stylistic information

issues: Inaccuracies in JC

b. 62

composition: WN 17, Polonaise in B♭ major

No indications in JC

più  in EF

 in PE
..

The indication più  in EF is probably non-authentic, same as  which precedes it in bar 60. It is worth mentioning that despite the fact that the dynamic relation defined with those indications could be generally assumed as compatible with cresc. and  in PE, the overall impression is totally different: the notation of PE is more precise in details (crescendos in bars 59 and 61), at the same time, it leaves more freedom by not determining the dynamics in bar 60; it also indicates the climax ( in bar 62) more clearly. 

category imprint: Differences between sources

b. 62

composition: WN 17, Polonaise in B♭ major

No mark in JC & EF

Wedge in PE
..

category imprint: Differences between sources

b. 62

composition: WN 17, Polonaise in B♭ major

No markings in JC

Pedalling in EF & PE
..

In this case, the compatible pedalling of EF and PE does not point to any relation between the sources. The pedalling of PE is simply one of a number of elements confirming the authenticity of this edition's version. In turn, the same indications in EF show that Fontana knew well general rules of Chopin's pedalling, which is hardly surprising given that he was Chopin's long-time friend and a copyist of many of his works. Cf. the note related to bar 63.

category imprint: Differences between sources

b. 62

composition: WN 17, Polonaise in B♭ major

..

In JC, there is no  lowering a into a, which is an obvious oversight. 

category imprint: Source & stylistic information

issues: Inaccuracies in JC