Page: 
Source: 
p. 3, b. 34-50
p. 1, b. 1-18
p. 2, b. 19-33
p. 3, b. 34-50
p. 4, b. 51-68
p. 5, b. 69-84
Main text
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
Select notes: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
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
Importance
All
Important
Main
Prezentacja
Select 
copy link PDF Main text


  b. 50

 in A, literal reading

 in A, interpretation

 in FE (→GE,EE

Our variant suggestion

The motif, opening the return of the main theme of the Etude, is provided with  in A and in FE (→GE,EE) – with . Although  was probably overlooked, Chopin did not return it at the time of proofreading FE, yet he added the hairpins. Renouncement of indicating dynamic level in the returning theme, in which dynamic contrasts play such a crucial role, does not seem to be convincing; however, Chopin could have taken into account the fact that  is valid here on the basis of the indication in bar 45. Due to this fact the hairpins of FE should have been regarded as the main version (cf. bars 43-45). On the other hand, as the comparison with the remaining appearances of the theme clearly suggests that the composer considered both indications to be necessary to determine the dynamics and character of this motif, we believe that including  next to the hairpins is equally justified.

Arrangement of the mark in A – see the remark concerning bars 51-63.

Compare the passage in the sources»

category imprint: Differences between sources

issues: Errors in FE

notation: Verbal indications

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