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WN 17, Polonaise in B♭ major

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Ornaments

b. 10-11

composition: WN 17, Polonaise in B♭ major

 in JC & EF

 in PE
..

The sources based on the earlier autograph have the ornaments written at the beginning of those bars as , while PE, based on the later autograph – as . In this context, Chopin often used those symbols interchangeably to determine a mordent. Cf. the remark concerning bar 24. 

category imprint: Differences between sources

b. 15

composition: WN 17, Polonaise in B♭ major

Arpeggio sign in JC & PE

No sign in EF
..

In this context, lack of the arpeggio in EF must be considered as an inaccuracy of the notation. 

category imprint: Differences between sources

b. 16

composition: WN 17, Polonaise in B♭ major

Grace note in JC

No grace note in EF

Grace note in PE, interpretation
..

Lack of the grace note in EF is most probably a result of Fontana's error in preparation of the base text (copy of [AI]). The difference in the grace note's form – non-slashed in JC, slashed in PE – has no practical meaning in this context, as Chopin often did not pay attention to this detail. The sharp before the ornament is a patent error of the engraver of PE.

category imprint: Interpretations within context; Differences between sources

issues: Errors in PE , Errors in Fontana's editions

b. 16

composition: WN 17, Polonaise in B♭ major

Small quavers in JC

Small semiquavers in EF

Slurred grace notes in PE
..

The sources differ in the form of the grace notes (the number of ties, presence of the slur). In the main text we adopt the most complete notation of PE.

category imprint: Differences between sources

b. 16

composition: WN 17, Polonaise in B♭ major

No arpeggio sign in JC & EF

Arpeggio sign in PE
..

In the main text we give the markings of PE (arpeggio and slurs) as probably authentic.

category imprint: Differences between sources