Page: 
Source: 
p. 1, b. 1-47
p. 1, b. 1-47
p. 2, b. 48-98
p. 3, b. 99-158
p. 4, b. 159-198
p. 5, b. 199-238
p. 6, b. 239-270
p. 7, b. 271-306
p. 8, b. 307-347
p. 9, b. 348-398
p. 10, b. 399-446
p. 11, b. 447-484
p. 12, b. 485-528
p. 13, b. 529-565
p. 14, b. 566-604
p. 15, b. 605-649
Main text
Main text
GC - Gutmann's copy
EE - English edition
EE1 - First English edition
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 - Second German edition
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Pitch
Rhythm
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Articulation, Accents, Hairpins
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GC - Gutmann's copy
EE - English edition
EE1 - First English edition
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 - Second German edition
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  b. 1-12

 in GC (→GE) and FE

 in EE

The sources differ here with regard to the placement and scope of hairpins  in bars 1-2, 3-4, 9-10 and 11-12. The differences in the scope only relate to the starting points; in bar 1 of GC and bars 1, 3 and 9 of FE the hairpins begin on the 2nd note. We consider it to be an inaccuracy of notation. In FE and GE the hairpins are placed horizontally between the staves. GC has a similar arrangement, although the signs in bars 9-12 are written onto the lower staff, which cannot be reproduced in print  For our main text we adopt the graphic layout of EE, wich may correspond to the notation of the autograph.

Compare the passage in the sources »

category imprint: Differences between sources

issues:

notation: Articulation, Accents, Hairpins