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WN 17, Polonaise in B♭ major

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b. 9

composition: WN 17, Polonaise in B♭ major

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In JC, FEF, and PE, the 5th quaver f is not extended to the value of a crotchet. It is certainly a mistake (the notation's inaccuracy), as the necessity to extend stems from the presence of the tie sustaining this note to the minim f in bar 10. Moreover, in JC, the last quaver, f1, is written erroneously in a two-part form. FEF has a correct notation.

category imprint: Source & stylistic information

issues: Errors of JC , Errors in PE , Errors in Fontana's editions , Fontana's revisions

b. 9

composition: WN 17, Polonaise in B♭ major

Quavers in JC & EF

Dotted rhythm in PE
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On the 3rd beat of the bar we give a dotted rhythm after PE, based on the later autograph – [A].

category imprint: Differences between sources

issues: Dotted or even rhythm

b. 9

composition: WN 17, Polonaise in B♭ major

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In JC and EF, there is a  before the last a1. This unjustified in this context sign is not included in PE. Similarly in bar 36.

category imprint: Source & stylistic information

issues: Cautionary accidentals

b. 10-11

composition: WN 17, Polonaise in B♭ major

No signs in JC

Hairpins in EF

PE

Our suggestion
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Three dynamic markings given in the main text without brackets come from PE. The  hairpins in bar 10 appear in EF. We propose to consider them, as a relevant sign is in PE in analogous bar 18. In JC, there are no performance markings here. 

category imprint: Interpretations within context; Differences between sources

b. 10-18

composition: WN 17, Polonaise in B♭ major

Quaver d1 in JC

Quaver d1 in EF

Minim in PE
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The extension of the note d1 in bars 10 and 18, marked only in PE, is a typical Chopin's ploy. In bar 18 of this edition, an equivalent notation was applied, showing exactly the voices' coincidence. The notation may have resulted from a misunderstanding of the notation of [A], hence in both places we give the simplest notation used in bar 10.

The lower note of the sixth, f, is a quaver in JC, which is a patent inaccuracy in relation to the tie sustaining it into f on the 3rd beat of the bar (see the next remark). According to us, it is yet probable that it corresponds to the notation of [AI] and illustrates the process of gradual improvement of the notation from bare quavers to the precise notation of ties of some of the notes. 

category imprint: Differences between sources

issues: Errors of JC