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Source: 
p. 2, b. 24-44
p. 1, b. 1-23
p. 2, b. 24-44
p. 3, b. 45-64
p. 4, b. 65-85
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Main text
A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected impression of GE1
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
GE5 - Fifth German edition
EE - English edition
EE2 - First English edition
EE3 - Corrected impression of EE2
EE4 - Revised impression of EE3
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected impression of GE1
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
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EE2 - First English edition
EE3 - Corrected impression of EE2
EE4 - Revised impression of EE3
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  b. 25

4 in A, GE & EE

3 in FE

Our variant suggestion

It is hard to define how the discrepancies between the sources were created; it could have been, e.g., a combination of Chopin's last proofreading of FE (change of '4' to '3'), not included in GE, and Fontana's revision in EE (change of '3' to '4'). The comfort of performance speaks against this possibility, as the 4th finger is a more natural solution after the 3rd one at the end of the previous bar. However, the strength of this argument is weakened by the indication of the 3rd finger at the end of bar 25, certainly by Chopin, yet unjustified with the position of the fingers. Therefore, in the main text we suggest both versions.

Compare the passage in the sources »

category imprint: Differences between sources

issues: EE revisions, GE revisions, Differences in fingering, Authentic corrections of FE

notation: Fingering

Missing markers on sources: GE1