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Source: 
p. 2, b. 48-98
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
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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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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. 95

No accidentals in EE, GC (→GE) & FE1

Naturals in FE2

Our suggestion

We consider the version with the octave D sharp-d sharp to be the main one, as none of the sources that could be based on the autograph (GC, EE, FE1) has naturals. Still, omission of those accidentals is very probable in that context, so the version of FE2 (D-d) could actually be the one intended by Chopin. To make things clear, we notate the version D sharp-d sharp with cautionary accidentals. Cf. bar 433.

Compare the passage in the sources »

category imprint: Interpretations within context

issues: Accidentals in different octaves, Omission of current key accidentals

notation: Pitch