Page: 
Source: 
p. 1, b. 1-22
p. 1, b. 1-22
p. 2, b. 23-42
p. 3, b. 43-64
p. 4, b. 65-84
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Main text
GC - Gutmann's Copy
Amar - Autograph fragment of March
FE - French edition
FE1 - First French edition
FE2 - Second impression of FE
FE3 - Third impression of FE
FE4 - Fourth impression of FE
FESch - Scherbatoff Copy
FES - Stirling copy
FED - Dubois copy
FE5 - Second French edition
GE - German edition
GE1 - First German edition
GE2mar - Second German edition of March
GE2 - Corrected impression of GE
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
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GC - Gutmann's Copy
Amar - Autograph fragment of March
FE - French edition
FE1 - First French edition
FE2 - Second impression of FE
FE3 - Third impression of FE
FE4 - Fourth impression of FE
FESch - Scherbatoff Copy
FES - Stirling copy
FED - Dubois copy
FE5 - Second French edition
GE - German edition
GE1 - First German edition
GE2mar - Second German edition of March
GE2 - Corrected impression of GE
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
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  b. 21

 before 2nd beat in the sources

 at the beginning of bar suggested by the editors

There is no doubt that the placement of the  sign in the sources is incompatible with the notation of [A]. However, it does not have to mean that the dynamics is valid only from the 2nd beat of the bar, as Chopin would sometimes use an older convention of placing performance indications not at the beginning, but in the middle of the scope of its validity. According to us, such an interpretation is more likely here than a literal interpretation. Similarly in bars 29, 75 and 83, which in [A] (→GC) were marked as a repetition of bar 21.  

Compare the passage in the sources »

category imprint: Interpretations within context; Editorial revisions

issues: Centrally placed marks

notation: Verbal indications

Missing markers on sources: FESch, FES, FED, FE3, FE4, GE1, GE2, EE2, FE5, GE2mar, Amar