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WN 17, Polonaise in B♭ major

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b. 66

composition: WN 17, Polonaise in B♭ major

No markings in JC

 in EF

dimin. in PE
..

In the main text we give the undoubtedly authentic dynamic indications of PE. In JC they are not featured at all, while in EF there are only  hairpins (longer than in PE), probably added by Fontana.

category imprint: Differences between sources

b. 66

composition: WN 17, Polonaise in B♭ major

No signs in JC & EF

Hairpins in PE
..

Emphasis on the e1 note – with the help of dynamic hairpins and an additional semiquaver – was marked only in PE.

category imprint: Differences between sources

b. 66

composition: WN 17, Polonaise in B♭ major

One-part notation in JC & EF

Three-element notation in PE
..

Highlighting the polymelodic structure of the last triplet was marked only in PE, undoubtedly on the basis of [A].

category imprint: Differences between sources

b. 66

composition: WN 17, Polonaise in B♭ major

..

In the sources there is no  before a1. It is related to different range of the octave sign at the beginning of the bar: the second semiquaver triplet is still not embraced by it, which makes that the  on the level of a1 (in the notation) appears already before the 6th semiquaver of the bar.

category imprint: Source & stylistic information

issues: Accidentals in different octaves

b. 66

composition: WN 17, Polonaise in B♭ major

..

In JC, the bass clef is not restored, which is a patent mistake. The same applies to bar 102.

category imprint: Interpretations within context; Differences between sources

issues: Errors of JC