Page: 
Source: 
p. 2, b. 33-68
p. 1, b. 1-32
p. 2, b. 33-68
p. 3, b. 69-102
Main text
Main text
AI - Earlier autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Corrected impression of GE2
EE - English edition
EEW - First English edition
EEC - Later English edition
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Graphic ambiguousness
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Pitch
Rhythm
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Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
AI - Earlier autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Corrected impression of GE2
EE - English edition
EEW - First English edition
EEC - Later English edition
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  b. 65-67

f1 in b. 65-66 in AI

One dotted minim f1 in b. 65 in FE1 (→GE1GE2)

f1 in b. 65-67 in FE2 (→EEC) & GE3

f1 repeated in b. 67 in EEW

It is uncertain whether the version of FE1 (→GE1GE2) is authentic, since the Chopinesque proofreading of FE2 could have only added the marks overlooked by the engraver. If, however, FE1 reproduced the [A] notation correctly, the differences between the three source versions would mean that Chopin hesitated to the very end how long the f1 note should be sustained here. The EEW version probably resulted from an oversight by the tie to f1 by the engraver, while the GE3 version almost certainly stems from FE2.

Compare the passage in the sources»

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations, Authentic corrections of FE

notation: Rhythm

Missing markers on sources: AI, EEW, EEC, FE1, FE2, FES, GE1, GE2, GE3