Page: 
Source: 
p. 4, b. 52-67
p. 1, b. 1-18
p. 2, b. 19-35
p. 3, b. 36-51
p. 4, b. 52-67
p. 5, b. 68-85
p. 6, b. 86-103
Main text
Main text
JC - Jędrzejewicz Copy
PE - First Polish Edition
EF - Editions by Fontana
FEF - French edition by Fontana
GEF - German edition by Fontana
Select notes: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
JC - Jędrzejewicz Copy
PE - First Polish Edition
EF - Editions by Fontana
FEF - French edition by Fontana
GEF - German edition by Fontana
Importance
All
Important
Main
Prezentacja
Select 
copy link PDF Main text


  b. 52-61

Voice attribution in JC (interpretation)

EF

PE, literal reading

PE, probable interpretation

PE, other interpretation

Determining which voice-division Chopin wanted to eventually apply in the chords on the 3rd beat of bars 52-53 and 60-61 encounters difficulties due to differences between particular sources and analogous bars, in this case JC due to its ambiguous notation. At the same time, the notation of JC may reflect the notation of [AIto a certain extent, as this kind of continuous put on the one side of the note heads stems of chords can often be found in Chopin's autographs. The notation of EF is almost certainly a result of Fontana's interpretation of [AI]. The version of PE, with its inconsistency, suggests similar difficulties in reading [A].

In this situation, apart from thoroughly recreated versions of EF and PE, we propose the most possible interpretation of JC and two interpretations of PE, going to the other direction. 

See b. 52-61

Compare the passage in the sources »

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues:

notation: Rhythm