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WN 17, Polonaise in B♭ major

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Issues : Errors of JC

b. 62

composition: WN 17, Polonaise in B♭ major

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In JC, the octave in the L.H. at the beginning of the bar is an erroneous crotchet.

category imprint: Source & stylistic information

issues: Errors of JC

b. 62

composition: WN 17, Polonaise in B♭ major

Third d4-f4 not tied in JC

Ties in EF & PE
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Lack of hold of the 2nd quaver of the bar in JC is most probably a result of the copyist's oversight of the ties.

category imprint: Differences between sources

issues: Errors of JC

b. 63

composition: WN 17, Polonaise in B♭ major

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It is only in EF that the lower voice on the 4th quaver of the bar is written correctly. In JC it does not appear at all (there are no quavers nor slurs), which is certainly an error due to writing the upper voice with the stems facing upwards. We do not complete this notation, as it is impossible to determine what was exactly missed by the copyist. In PE, lack of the quaver flag next to the f1-b1 fourth is an obvious mistake.

category imprint: Differences between sources

issues: Errors of JC , Errors in PE

b. 63

composition: WN 17, Polonaise in B♭ major

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In JC, the  before the 6th semiquaver is erroneously written on the level of d2. Moreover, the manuscript also features a  before b1 on the 9th semiquaver. 
In PE, the  appears before b2 on the 4th semiquaver (due to different range of the octave sign), as well as before b1 on the 9th semiquaver (instead of a more justified sign before the 6th semiquaver).
In EF, the notation of accidentals does not differ from the one adopted by us. 

category imprint: Differences between sources; Source & stylistic information

issues: Accidentals in different octaves , Errors of JC

b. 63

composition: WN 17, Polonaise in B♭ major

Rhythm of upper voice in EF

Rhythm in JC (interpretation) & PE
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On the 4th quaver of the bar in JC, there is a figure which fills a crotchet with its rhythmic values: . According to us, the error consists in writing two-time bigger rhythmic values and could be already in [AI]. This kind of mistakes was frequent in Chopin's works, e.g., in the Nocturne in D major, Op. 27 No. 2, bar 56. The hypothesis allows to explain also the creation of the version of EF: having encountered the error in [AI], Fontana corrected it with the method of as little changes as possible, extending the lower beam. In the main text we give the probably unique authentic rhythm, recreated faultlessly in PE.

category imprint: Interpretations within context; Differences between sources

issues: Rhythmic errors , Errors of JC