Page: 
Source: 
p. 15, b. 313-332
p. 1, b. 1-24
p. 2, b. 25-49
p. 3, b. 50-75
p. 4, b. 76-103
p. 5, b. 104-124
p. 6, b. 125-141
p. 7, b. 142-161
p. 8, b. 162-182
p. 9, b. 183-207
p. 10, b. 208-228
p. 11, b. 229-248
p. 12, b. 249-269
p. 13, b. 270-292
p. 14, b. 293-312
p. 15, b. 313-332
p. 16, b. 333-352
p. 17, b. 353-373
p. 18, b. 374-399
Main text
Main text
A - Autograph
GE - German edition
GE1 - First German edition
FE - French edition
FE1 - First French edition
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
IE - Italian edition
IE1 - First Italian edition
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Pitch
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Articulation, Accents, Hairpins
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No differences
A - Autograph
GE - German edition
GE1 - First German edition
FE - French edition
FE1 - First French edition
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
IE - Italian edition
IE1 - First Italian edition
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  b. 313

No marks in A

Wedges in GE (→FE,EE,IE)

The GE revision (→FE,EE,IE) is justified – all crotchets in this bar (and most probably also in the next one) are certainly to be performed with the same articulation. However, starting from the 2nd half of the bar, Chopin used staccato marks to separate (accent) some R.H. quavers and could have wanted to avoid similar marks in the accompanying part. Due to the above, in the main text we do not include the marks added in the editions.

Compare the passage in the sources»

category imprint: Differences between sources

issues: GE revisions

notation: Articulation, Accents, Hairpins

Missing markers on sources: A, EE2, EE1, IE1, GE1, FE1