Page: 
Source: 
p. 6, b. 121-140
p. 1, b. 1-24
p. 2, b. 25-48
p. 3, b. 49-72
p. 4, b. 73-92
p. 5, b. 93-120
p. 6, b. 121-140
p. 7, b. 141-160
p. 8, b. 161-192
p. 9, b. 193-214
p. 10, b. 215-241
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GC - Gutmann's Copy
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
GE - German edition
GE1 - First German edition
GE2 - Corrected reprint of GE
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE
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GC - Gutmann's Copy
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
GE - German edition
GE1 - First German edition
GE2 - Corrected reprint of GE
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE
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  b. 133-136

Dashes in bars 133-134 in GC

Dashes until end of bar 135 in FE

No dashes in GE1

Dashes in bars 133-135 in EE & GE2

4 bars of dashes suggested by the editors

According to us, the differences in the marked range of the cresc. - - - indication are of a random character. In particular, the absence of dashes in bar 136 could have resulted in FE from difficulties in a legible distribution of all elements of the notation of [A] (cf. the notation of GC) or in FE itself, whereas according to Chopin's intention, crescendo was supposed to be valid most probably until  in bar 137. Therefore, in the main text we suggest leading the dashes to the end of bar 136 (see also bars 127-128). The total absence of dashes in GE1 is certainly a mistake (cf. the note on the  hairpin in bars 135-136).

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources

issues: EE revisions, Inaccuracies in GE, GE revisions

notation: Verbal indications

Missing markers on sources: FESch, FED, FES