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b. 68-69
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composition: WN 17, Polonaise in B♭ major
..
We give the performance indications of PE, which undoubtedly come from [A]. The sources based on the previous autograph – JC and EF – do not give any indications. category imprint: Differences between sources |
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b. 68-69
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composition: WN 17, Polonaise in B♭ major
..
The accents on the 3rd beat of those bars appear in all sources. In the main text, we give the version of PE, compatible with the echo effect indicated by the dynamic markings. category imprint: Differences between sources |
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b. 68-69
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composition: WN 17, Polonaise in B♭ major
..
The rhythmic notation of the 2nd and 3rd beats of those bars cause substantial problems as in bars 52-53 and analog. The analysis of the notation of JC suggests that Chopin initially wrote only four quavers in each hand in [AI] and then, in a simplified manner, separated some of the notes by extending their stems over the beams (a similar notation is to be found in the finished autograph of the Polonaise in F minor, WN 12, bars 23-24). The notation of EF is an alternative attempt to decipher the notation of [AI]. For the main text we adopt the notation of PE with a clearly highlighted melodic voice. category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Inaccuracies in JC |
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b. 68
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composition: WN 17, Polonaise in B♭ major
..
In JC, there is a category imprint: Source & stylistic information issues: Cautionary accidentals |
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b. 68-69
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composition: WN 17, Polonaise in B♭ major
..
JC has an additional category imprint: Source & stylistic information |
, 
in 
written before b
before f