Page: 
Source: 
p. 1, b. 1-15
p. 1, b. 1-15
p. 2, b. 16-30
p. 3, b. 31-51
p. 4, b. 52-73
p. 5, b. 74-91
p. 6, b. 92-106
p. 7, b. 107-127
Main text
Main text
A - Autograph
FE - French Edition
FE1 - First French edition
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German Edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Second, revised impression of GE2
GE4 - Third impression of GE2
EE - English Edition
EE1 - First English edition
EE2 - Later impression of EE1
Select notes: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
A - Autograph
FE - French Edition
FE1 - First French edition
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German Edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Second, revised impression of GE2
GE4 - Third impression of GE2
EE - English Edition
EE1 - First English edition
EE2 - Later impression of EE1
Importance
All
Important
Main
Prezentacja
Select 
copy link PDF Main text


  b. 8-9

Chopin changed the hairpins' concept in A: he deleted the crescendo hairpins in bar 9 and he prolonged the ones beginning in bar 8. Probably both changes were introduced at the same time: Chopin deleted the short hairpins in bar 9, planning to introduce a longer crescendo indication. In order to do that, he added an extension of the hairpins' arm from bar 8 or even the entire hairpins in two moves (the too short sign and extension).

Compare the passage in the sources»

category imprint: Graphic ambiguousness; Corrections & alterations

issues: Scope of dynamic hairpins, Deletions in A

notation: Articulation, Accents, Hairpins