A
Main text
A - Autograph
FC - Fontana's copy
CGS - Copy by George Sand
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
compare
  b. 1-2

  in A (contextual interpretation→FC)

  in FE (→EE)

  in GE

No markings in CGS

The range of the  hairpin in b. 1 is difficult to determine in A – the top arm is much shorter than the bottom one. According to us, it is the range marked by the top arm, written first, that was intended by Chopin. It is compliant with dynamics, naturally resulting from the shape of the melodic line, and this is how it was reproduced by Fontana in FC (→GE). That interpretation is also supported by the range of the  hairpins in analog. b. 3 and 9 (as well as 23), in which the range of the top arm remains unchanged, unlike the considerable and rather accidental changeability of the bottom one. The differences in the length of the  mark in b. 2 seem to be inaccuracies (in FC, not affecting the meaning) or routine revisions (in editions).

CGS overlooked the vast majority of dynamic markings – except for two  in b. 13-14. According to us, it is an oversight of the copyist.

Similar problems and differences occur in following, similar bars 3-5, 9-11 and 23-24.

Compare the passage in the sources »

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE, Scope of dynamic hairpins, GE revisions, Inaccuracies in A

notation: Pitch

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