Page: 
Source: 
p. 5, b. 39-49
p. 1, b. 1-8
p. 2, b. 9-18
p. 3, b. 19-28
p. 4, b. 29-38
p. 5, b. 39-49
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Main text
CLI - Copy by Linowski
Ap - Presentation autograph
FE - French edition
FEcor - Chopin's FE proof
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected impression of GE1
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
GE5 - Fifth German edition
EE - English edition
EE2 - Second impression of [EE1]
EE3 - Corrected impression of EE2
EE4 - Revised impression of EE3
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CLI - Copy by Linowski
Ap - Presentation autograph
FE - French edition
FEcor - Chopin's FE proof
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected impression of GE1
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
GE5 - Fifth German edition
EE - English edition
EE2 - Second impression of [EE1]
EE3 - Corrected impression of EE2
EE4 - Revised impression of EE3
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  b. 45-46

cresc. - - in Ap (interpretation)

cresc. - - in FEcor

cre - scen - do in FE (→GE,EE

The difference in the notation of the crescendo hint in FEcor and FE (→GE,EE) is puzzling. According to us, Chopin's entry in FEcor was not performed by the engraver (it was totally omitted or – more likely – only partially considered, without the dashes limiting its range), so in the next proofreading Chopin wrote the indication again, this time divided into syllables (cf. bar 42). The interpretation of the entry in Ap is also not entirely clear. We assume that it was about leading it until  in bar 47.

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources

issues: Authentic corrections of FE

notation: Pitch

Missing markers on sources: GE1