



Both source versions must be authentic, and both resulted from corrections:
- in A Chopin initially wrote the following version:
, in which he then crossed out both crotchets on the 3rd beat of the bar and added dots prolonging the minims;
- the FE version resulted from the final A version, which is confirmed by traces of performing corrections in print, visible in some copies, in particular the trace of the dot prolonging the a
minim.
In this situation in the main text we give the FE version, having resulted from Chopin's most mature reflection; he eventually opted for the same version as in bar 202.
Compare the passage in the sources »
category imprint: Differences between sources; Corrections & alterations
issues: Corrections in A, Chopin's hesitations, Deletions in A, Accompaniment changes, Authentic corrections of FE
notation: Rhythm