Page: 
Source: 
p. 2, b. 1-10
p. 1
p. 2, b. 1-10
p. 3, b. 11-24
p. 4, b. 25-35
p. 5, b. 36-51
p. 6, b. 52-66
p. 7, b. 67-84
FE1 - First French edition
Main text
A - Autograph
FE - French edition
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
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - English edition
EE3 - Corrected impression of [EE2]
EE4 - Revised impression of EE3
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Graphic ambiguousness
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Articulation, Accents, Hairpins
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A - Autograph
FE - French edition
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
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - English edition
EE3 - Corrected impression of [EE2]
EE4 - Revised impression of EE3
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copy link PDF FE1 - First French edition

Original in: Bibliothèque Nationale de France, Paris


  b. 10-12

 in A

FE (→GE,EE

In A  marks in bars 10 and 12 are written only on the 4th beat in the bar, on  marks. According to us, the way of their arrangement is a result of the already disappearing in Chopin's times convention of writing marks inside their scope of validity (and not at the beginning). This is how it was understood in FE (→GE,EE), in which the indications were moved before the octave motifs. This phenomenon also appears in bars 50-53 and 60-63, to an even greater extent.

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources

issues: Centrally placed marks

notation: Verbal indications

Missing markers on sources: FE1, FE2, FED, FEJ, FES, A, GE1, GE2, GE3, GE4, EE3, EE4