EE3
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
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 - First English edition
EE3 - Corrected impression of EE2
EE4 - Revised impression of EE3
compare
  b. 5-13

 twice in A

 once in FE (→GE) & EE3 (→EE4)

EE2

Our variant suggestion

The performance markings in bars 5 and 13 in A are compatible and understandable:  and long accent over e2 underline the local climax after which a  on the descending semiquaver motif appears (in bar 45 there is only the  sign). It is not that clear in the case of the indications included in FE (→GE,EE) – the  sign, moved to the 1st half of the bar, if associated with the part of the R.H., is entirely under the long note, which in Chopin's notation is equivalent to a long accent. Therefore, the notation of FE would merely be a simplified version of the indications of A. On the other hand, the notation of the sources discussed in separation from A does not raise major doubts – the climax is underlined by  in bar 5 or by the accent in bar 13 and in both cases it is followed by a diminuendo (in EE2 there is no accent in bar 13). The lack of  in the repetition of the phrase may be considered as a suggestion to shape the dynamic flow of both phrases in a different way.

In the main text we give the indications written by Chopin in A, with a suggestion of a possible omission of  in bar 13. The sources' version, whose scope of authenticity is difficult to determine, yet which to a certain extent could have been inspired by the composer, is considered by us as an alternative solution.

Compare the passage in the sources »

category imprint: Differences between sources

issues: Long accents, Inaccuracies in FE

notation: Articulation, Accents, Hairpins

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