Page: 
Source: 
p. 2, b. 5-13
p. 1, b. 1-4
p. 2, b. 5-13
p. 3, b. 14-22
p. 4, b. 23-34
A - Autograph
Main text
A - Autograph
FC - Fontana's copy
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
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Graphic ambiguousness
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Articulation, Accents, Hairpins
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No differences
A - Autograph
FC - Fontana's copy
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
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copy link PDF A - Autograph


  b. 10

In A one can see corrections on the 2nd beat of the bar – the R.H. figure was crossed out and rewritten on the stave above. Chopin wanted to change the enharmonic notation of the 5th and 6th demisemiquavers from f2-d2 to e2-c2; eventually, however, when writing the 6th demisemiquaver as c2, he again changed his mind and returned to d2 (he introduced the change of f1 to e1 also in the L.H.).

Compare the passage in the sources »

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A, Chopin's hesitations, Deletions in A, Enharmonic corrections

notation: Pitch

Missing markers on sources: A, FC, FE1, FE2, FED, FEJ, FES, FESch, GE1, GE2, GE3, EE1, EE2, EE1a