EE1
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
compare
  b. 366

d in chord in A & GE2

B in chord in GE1

B alone in FE (→EE1) & EE3

Sixth in EE2

Both the change introduced in GE1 and the one in FE definitely come from Chopin who was looking for the smartest connection of this bar with the following one, as far as the piano skills and harmony are concerned. At the same time, he most probably wanted to emphasise the chromatic movement of the bass, hence the arbitrary version of EE2 certainly does not correspond to his intention. The last crotchet in bar 368 underwent the same transformation, which excludes a possibility of a mistake in both versions.

Compare the passage in the sources »

category imprint: Differences between sources

issues: Accompaniment changes, Authentic corrections of FE, Authentic corrections of GE

notation: Pitch

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