Page: 
Source: 
p. 14, b. 220-230
p. 1, b. 1-22
p. 2, b. 23-49
p. 3, b. 50-76
p. 4, b. 77-92
p. 5, b. 93-104
p. 6, b. 105-114
p. 7, b. 115-124
p. 8, b. 125-140
p. 9, b. 141-153
p. 10, b. 154-168
p. 11, b. 169-180
p. 12, b. 181-204
p. 13, b. 205-219
p. 14, b. 220-230
p. 15, b. 231-240
p. 16, b. 241-250
p. 17, b. 251-267
p. 18, b. 268-286
p. 19, b. 287-298
p. 20, b. 299-313
p. 21, b. 314-327
p. 22, b. 328-348
Main text
Main text
½A - Semi-autograph
A - Autograph of the piano part
Morch - Manuscript of the orchestra part
GE - German edition
GE1 - First German edition
GE1a - Retouched impression of GE1
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
EE3 - Corrected impression of EE2
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Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
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Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
½A - Semi-autograph
A - Autograph of the piano part
Morch - Manuscript of the orchestra part
GE - German edition
GE1 - First German edition
GE1a - Retouched impression of GE1
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
EE3 - Corrected impression of EE2
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  b. 229

Accent on 2nd semiquaver in A, literal reading

Accents on 2nd & 3rd semiquaver in GE1 & EE2 (→EE3)

No marks in FE (→EE1)

Short accent on 1st semiquaver in GE2

Long accent on 1st semiquaver suggested by the editors

The accent in A (short) is placed over the 2nd semiquaver of the last group (b). According to us, the notation is inaccurate, and the accent is supposed to concern the 1st semiquaver. In GE1 the accent was printed in accordance with the literal interpretation of A, yet over the next semiquaver (f), another accent was added. This musically incomprehensible notation perhaps proves attempts to correct the erroneous notation. In FE (→EE1) both erroneous accents were overlooked (it cannot be excluded that it was Chopin's proofreading). GE2 has an accent over the 1st note, which most probably proves the unification of the notation of all similar bars.

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

issues: Errors in GE, GE revisions, Authentic corrections of FE, Inaccuracies in A

notation: Articulation, Accents, Hairpins

Missing markers on sources: GE1, A, GE1a, Morch, GE2, FE1, FE2, FES, FED, FEJ, EE1, EE2, EE3