Page: 
Source: 
p. 15, b. 256-271
p. 1, b. 1-20
p. 2, b. 21-42
p. 3, b. 43-60
p. 4, b. 61-75
p. 5, b. 76-90
p. 6, b. 91-105
p. 7, b. 106-126
p. 8, b. 127-147
p. 9, b. 148-163
p. 10, b. 164-178
p. 11, b. 179-198
p. 12, b. 199-224
p. 13, b. 225-240
p. 14, b. 241-255
p. 15, b. 256-271
p. 16, b. 272-293
p. 17, b. 294-315
p. 18, b. 316-332
Main text
Main text
A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
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  b. 264-265

till bar 265 in A

in b. 264 in GE

 in FE (→EE)

The shorter  marking in GE must have been an arbitrary decision by the engraver, who adjusted the sign to the bar. By contrast, the FE hairpin, of the same range as in GE, can be coming from Chopin, who would add some performance markings twice – both to A after [FC] had been finished, and to [FC] or proofs of FE1. This is also supported by the presence of a  hairpin in FE at the beginning of bar 265 – with longer  hairpin this sign would be contradictory.
As in analogous bars 94 and 98, the  in FE, certainly authentic, can be considered an alternative or an addition to the accent on e2-e3 written in A – see note to bar 265.

See b. 93-97

Compare the passage in the sources»

category imprint: Differences between sources

issues: Inaccuracies in GE, Scope of dynamic hairpins

notation: Articulation, Accents, Hairpins

Missing markers on sources: A, FE1, FE2, FEJ, FES, GE1, GE2, EE1, EE2