Page: 
Source: 
p. 5, b. 41-52
p. 1, b. 1-10
p. 2, b. 11-20
p. 3, b. 21-30
p. 4, b. 31-40
p. 5, b. 41-52
p. 6, b. 53-63
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FC - Fontana's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected reprint of GE1
GE1b - Flawed impression of GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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FC - Fontana's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected reprint of GE1
GE1b - Flawed impression of GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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  b. 52

a1 in FC (→GE1GE2), FE & EE

a1 in GE3

The change introduced in GE3 is surprising due to the extent of misunderstanding of the harmony in this place, particularly if one takes into account the fact that it was introduced already in the 2nd half of the 19th century and the reviser of GE should have already known at least a few Chopin's pieces, in which a chord of a similar structure was used (g-f-a-c-e), as for example the Scherzo in B minor, Op. 20, bars 594-599, the Nocturne in F minor, Op. 55 No. 1, bars 22-23 and in B major, Op. 62 No. 1, bar 18, Polonaise-Fantaisie, Op. 61, bar 145, Barcarolle, Op. 60, bars 48-49. Chopin fingering, which completely does not fit the changed text, was also ignored. Similarly in analogous bar 56.

Compare the passage in the sources»

category imprint: Differences between sources

issues: GE revisions

notation: Pitch

Missing markers on sources: GE1b, FED, FEJ, FES, FE1, FE2, GE1, GE1a, GE2, GE3, FC, EE1, EE2, EE3