Page: 
Source: 
p. 23, b. 708-739
p. 1, b. 1-43
p. 2, b. 44-76
p. 3, b. 77-102
p. 4, b. 103-132
p. 5, b. 133-175
p. 6, b. 176-208
p. 7, b. 209-234
p. 8, b. 235-264
p. 9, b. 265-303
p. 10, b. 304-333
p. 11, b. 334-365
p. 12, b. 366-405
p. 13, b. 406-435
p. 14, b. 436-467
p. 15, b. 468-493
p. 16, b. 494-523
p. 17, b. 524-551
p. 18, b. 552-583
p. 19, b. 584-626
p. 20, b. 627-657
p. 21, b. 658-682
p. 22, b. 683-707
p. 23, b. 708-739
p. 24, b. 740-780
Main text
Main text
A - Autograph
FC - Fontana's copy
FE - French edition
FE1 - First French edition
FED - Dubois copy
FES - Stirling copy
FESf - Schiffmacher copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Corrected impression of GE2
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
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Pitch
Rhythm
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Articulation, Accents, Hairpins
Verbal indications
Pedalling
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Differences
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A - Autograph
FC - Fontana's copy
FE - French edition
FE1 - First French edition
FED - Dubois copy
FES - Stirling copy
FESf - Schiffmacher copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
EE3 - Corrected impression of EE2
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  b. 730-731

 on 3rd beat in A (literal reading→FCGE1, →FEEE) & GE3

 on 2nd beat in A (contextual interpretation) & GE2

In A the R.H. quavers in these bars are written later than the L.H. part notation indicates, which is one of the reasons hampering the interpretation of the pedalling markings. The  marks begin under the 1st R.H. quaver but they end already after the last L.H. crotchet, which the majority of the sources reproduced as a  mark on the 3rd beat of the bar. Such a pedalling unnecessarily – contrary to cresc. – impoverishes the sound, since, differently than in the previous bars, the first two quavers of each of the passages do not form the chord built with pedal. Therefore, in the main text we keep in these bars the pedalling model from the previous passages, which is pianistically natural and compliant with the notation of A. Such a solution was adopted in GE2, whereas GE3 restored the notation of FC (→GE1). 

Compare the passage in the sources »

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions, Inaccuracies in FC, Inaccuracies in A

notation: Pedalling

Missing markers on sources: FE1, FED, FES, FESf, GE1, GE2, GE3, EE1, EE2, EE3, A, FC